Continue reading “pro re nata”Ania Nowak’s Obelix Nutrix ruminates on nursing (its histories and realities) as a performance of the art and science of caring. It premiered at Salzburger Kunstverein and ran at Sophiensæle from 29 to 31 November 2024.
Alice Heyward
Radial Refraction, Reverberating Resonance
Continue reading “Radial Refraction, Reverberating Resonance”The 18th edition of POOL – MOVEMENT ART FILM Festival Berlin at DOCK 11 (16–19 October) featured a tribute event to the intermedia icon Phill Niblock and three evenings of nine short dance films by international artists.
Matrixial Continuum
Sonya Levin’s PASTPARTUM on 7 September at Kleine Orangerie explores pregnancy to ask how we constantly consume and are consumed by our own production in cycles of self-reconstruction.Continue reading “Matrixial Continuum”
Air Castle
The five-hour DREAM (2022) by Alessandro Sciarroni at St. Elisabeth Kirche (visitors can come and go) in Tanz im August (24–25 August), while relaxing, lacks tension and falls short of the potential of an embodied ‘dream’.
Dressed in black gumboots, cut-off black fishnet stockings, and layers of dark trousers tailored into short, frayed variations, seven dancers in their mid-30s and early 40s sway slowly in the cavernous, light-filled church. Amorphous floating gestures move them separately through flows that never find endpoints, rupturing and redirecting haphazardly in faster spurts (gently digging, scratching, scrunching and smelling invisible objects and architectures with their hands). Then, perhaps distracted by a romantic whim, the ethereal floating motions continue.
We, visitors, flank the sides of the church to sit against the walls. Sciarroni, not a performer in his work, stands out among the spectators, often moving around to sit in different areas more centrally within the room. Given the program note and video excerpts I see online of DREAM in past contexts, I wonder if he wishes to tacitly choreograph us by example to peel away from the perimeter, to “wander and discover new scenes.”
In the centre of the room is an upright piano on which a pianist, also in the dark, layered clothing with elements that signify different scenarios, plays fragments of recognisable, populist-toned classical music such as Erik Satie’s Gymnopédies. An air of pomp surrounds the instrument and musician. The effect of the beautiful yet generic sound on my experience is like when I play these very pieces while I work on my computer: an acoustic, mind-clearing condition to focus. The subtle rhythms of piano keys—light ascensions and cascades—complement the bodies floating in my vision. The stakes are low; I drift.
The performers’ eyes are glassy, gazes unfocused. Slight smiles curl now and then at their lips as they stare up, out and into the space around them, proposing that there’s poignant scenery in the atmosphere invisible to us, visitors to the dreamers. It is only when dancer Edoardo Mozzanega moves close to my neighbour and me, reaching airily into the negative space between our shoulders, that I realise our presence as visitors is necessary to what first appears like seven representations of states of unconscious, ‘dreamy’, individual oblivion. In my intimate encounter with Mozzanega’s performance, I feel his gaze consciously look through me as a performative strategy to produce a sense of imagination. I am part of an invisible horizon in a dream through an act that is possible precisely through my presence and his recognition of it in the reality of the performative situation.
Our closeness allows me to notice small, physical details: the individual strands of his feather earring, the texture of stubble he strokes on his face, the wrinkles on a hand propping up the chin of a visitor nearby whose attention is absorbed by another dancer. Sciarroni refers to the dancers in his program note as “works of art in the flesh” who “silently (and joyfully) express the desire to be innocently powerless”. Dreams and dreaming in this work offer a preconceived vision that doesn’t move me beyond suggestion nor engage the potentiality of dreams but produces soothing vibes with a sentimental undercurrent.
LEAH KATZ
Through Ariel Ashbel’s characteristic aesthetic that exposes the mechanics of the theatrical apparatus, Fiddler! A Musical unites the tender beauty and complexities of different storytellings, traditions, and approaches to faith.Continue reading “LEAH KATZ”
One’s last is another’s first
Last Dance | And for the time being by Ian Kaler and Stéphane Peeps Moun (19–21 July 2024, Uferstudio 14) joins two solos that sculpt time through physical movement—text and dance interact as staged material, producing subtle relationships between human and non-human subjects.Continue reading “One’s last is another’s first”
The Centre is Everywhere, the Circumference is Nowhere
LATE, premiering on 22 and 23 June at Studio Storkower Straße 115, directed by Juli Reinartz, takes the figure and format of a ball (dance) as a landscape for coexistence and change, exploring crip time as simultaneous multiplicity for bodies sharing space.Continue reading “The Centre is Everywhere, the Circumference is Nowhere”
Ausatmen
In der Luft, by Tatiana Mejía and Kareth Schaffer, was previewed on 18 June at TANZKOMPLIZEN in Podewil and will premiere on 27 September. This fun, educational, and imaginative dance work brings the attention of audiences six years of age and over to the mixture of many gases and tiny dust particles all around us: air.Continue reading “Ausatmen”
Beyond the joy of the evident
Staatsballett Berlin performs three groundbreaking works by William Forsythe, who remounted them with the company’s dancers. The evening offers a lively encounter with ballet as a process to decipher by dancers and audience alike. Premiering at Deutsche Oper on 16 February 2024, it also shows between 19–23 February, 4–14 March, and 1–9 April.
Continue reading “Beyond the joy of the evident”
Ground Control
Continue reading “Ground Control”Melanie Jame Wolf’s performance More Ballads of Outlaw Feelings on 3 February 2024, as part of her expansive exhibition The Creep at E-WERK Luckenwalde from 21 October 2023 – 10 February 2024, offers a vivid characterisation of the way power patterns become, seemingly, inevitable.
blue is something of an ecstatic accident produced by void and fire
Continue reading “blue is something of an ecstatic accident produced by void and fire”This resting, patience by Ewa Dziarnowska, presented from 3-6 pm on 13 and 14 January at Sophiensæle in the frame of Tanztage Berlin 2024, is an emotional passage of bodily tension rising, rupturing, releasing and regenerating through cycles of feeling as dancing.
Loose Trade
Continue reading “Loose Trade”MIKE (2023) by Dana Michel, presented across three afternoons from 1 to 3 December 2023 by the Berliner Festspiele at Martin-Gropius-Bau, creates a sensitive, tolerant and humorous space for contemplations and questions about how bodies are put to work.