Continue reading “To All Tomorrow’s (Open Air) Parties”
“The Dying Swans Project”, conceptualised by Eric Gauthier and produced by Gauthier Dance / Dance Company Theaterhaus Stuttgart, is a screendance project involving international choreographers made during the second pandemic winter. In her video “all tomorrow’s parties”, Berlin-based choreographer Constanza Macras provides a fascinating perspective on a post-party mood as an awakening from the post-Covid-19 period. From another view, Meg Stuart and Damaged Goods interface through a poetic and touching screendance work for Haus der Kulturen der Welt.
Continue reading “Set Me Free on the Hardcore Internet”
“Hardcore Internet” documents the four-week research process by dance artist Julia Plawgo at ada Studio. Filmed and directed by Plawgo herself in the form of an open rehearsal, it was streamed online from 30 April till 2 May on ada Studio website. Dealing with themes such as digital space, video games, offline and online life, this work in progress made for the screen creates an alternative space where screened choreography and dance expand on different layers for “living bodilessly in a digital space”.
Continue reading “Back to the Forming Futures. A Report from Lake Studios: Conversations Through Dance and Ecology”
During the first weekend of May, Lake Studios Berlin hosted the first volume of ABOUT DANCE. Entitled forming futures, this forum for dance professionals was proposed by Mårten Spångberg and Alex Viteri Arturo, with online contributions by André Lepecki, Jota Mombaça, Nina Power, Filipa Ramos, Julian Reid, Jana Unmüßig, and Miriam Jacob.
Continue reading “Filming Utopian Body”
“Vogel | 4 Solos” is a sequence of four solos, directed and choreographed by Christine Bonansea, and filmed at DOCK 11. Led by a powerful blend of stark lighting design and raucous soundscapes, this work aims to embody Michel Foucault’s notion of the utopian body — a daunting task for a string of four separate filmed solos that had been initially devised as simultaneous performances amongst which spectators could carve their own paths. Bonansea faces this challenge with a blast of power and creates a thought-provoking study on the limits of emotional perception.
Inky Lee creates an immersive sound monologue that addresses dance.Continue reading “Monologue to Dance”
The Corona pandemic provided some people more time to be alone. Sometimes, this may mean sitting with oneself without external distractions. Inky Lee, who lives alone, is one of these people. One night, she quietly sits in this state and observes the movements of her insides.Continue reading “Collage of Loneness”
When the possibility of meeting and touching people has been restricted due to the Corona pandemic, Inky Lee reflects on physical intimacy.Continue reading “Crumb Drawers”
When movement has been restricted due to the Corona pandemic, Inky Lee travels in her room.Continue reading “Moving Puzzle”
‘Dear Anna, I hope you are well! […] Due to this second lockdown, we cannot review any performances in the theatres anymore. As an alternative, I would like to interview you on the topic of ‘bodily joy’. It comes from my realisation that, due to the distance, the lack of spontaneity, and the absence of live get-togethers, I find it hard to experience joy in my body myself. And it’s a loss. Therefore it would be great to talk to you about how to keep finding joy in the body in these awkward times. […]. Best, Annette’Continue reading “The Expansion of Joy — An Interview with Anna Nowicka”
Here we are sitting in the mid of the second wave, and with the year and my contribution as a tanzschreiber drawing to a close, I would like to make a few reflections on dance/performing arts in this forced digitalization time. The longer we are sitting at home in some degree of lock-down, the deeper the influence is going to last. If on the positive pole, it has been an eye-opening experience connecting people in different geographical location and calling for a rethinking of the approaches to dance, on the down side, most of us crave touch or a stable (economic/working) environment. At this point, I want to look closer at three elements of dance production — creation, aesthetics and fruition — for a sort of time warp on the future of dance, also dance education.Continue reading “What about a Time Warp Dance?”
Continue reading ““Why criticism?” – a digital debate in three episodes”
During the pandemic period, the reviews in daily newspapers and radio broadcasts continued to decline. In any case, art criticism, as a vain genre, is itself repeatedly subject to criticism. Does the current situation mean the swan song to it? Time at least for an inventory.
Written by Akiles.*
Finding your space in Berlin is not a simple task. However, with the support of the relevant institutions, many obstacles disappear. It was the same for me, only I had other hurdles to overcome first: political issues, bureaucracy, and a disease.Continue reading “The Parallel World in Me …”
Inky Lee writes about “Exotic Animal”, a performance created and performed by Ming Poon, and co-produced by English Theatre Berlin. The performance took place online, via Zoom, on 3 – 5 December 2020.Continue reading “Be More Chinese”
As a keynote text for the “Why criticism?” debates to be presented by tanzschreiber and streamed online by Radialsystem in Berlin, Sanjoy Roy recounts how the current pandemic has led him to reflect on reviewing, to find renewed value in (a)live performance – and to search for the life within writingContinue reading “Life sentences: on reviewing and renewing”
Continue reading “Reading Tracks – An Interview with Peter Pleyer”
Peter Pleyer has been an observant participant of the Berlin dance scene for 20 years, not only as a dancer and choreographer, but also as a dramaturg, lecturer, and Director of Tanztage at the Sophiensæle (2007-2014). He talks about his own past, the present with COVID-19, and the near future of more sensible and effective networking within the equally diverse and precarious contemporary dance scene in Berlin.
Goitseone Montsho* reckons with, and contemplates how, Black femmes use fashion to return, pacify, and engage the white, male, and cis gaze in Berlin’s performance scene.Continue reading “Commanding the Relentless Gaze”
Continue reading “Thoughts on Lockdown No. 2”
Gob Squad first presented their 12 hour livestream performance “Show Me A Good Time” during the lockdown in June. For the second lockdown, they remade the piece into three parts, and HAU broadcast the first episode on 26 November 2020. I decided to use it as an opportunity to reflect on this latest closure of live performance venues.
Continue reading “Together Together”
“isson – a solo for two men” by cie. toula limnaios has a transformative history. Already in 2003, the performance, then called “isson – a solo for two women”, had its premiere. For its 20th anniversary in 2016, it was restaged with two men, and then remained in the repertoire. Leonardo d’Aquino and Alessio Scandale were supposed to dance it live again this November, but due to the current lockdown, it was presented online instead, broadcast from the Halle Tanzbühne Berlin, and remains available for viewing until 28 November.
Continue reading “Something Remains Astir in the Silence: On the Importance of Dance Residency Programs”
Whether we anticipated it or not, whether we processed the events and emotions of the first wave or not, the second (partial) lockdown has returned us to a similar situation as in March, as we – Annette, Jette, and I – had just begun reporting on Berlin dance events for the tanzschreiber portal. It’s been a few intense months during which we primarily sated our dance curiosity via online formats. Even though, as we all know, dance is actually the most physical art form par excellence there is (for both the artists and the audience). So we attempted to tackle questions about the practice, “how, where, on what, and with whom can dancers and choreographers work right now?”, and about the receivers, and especially “about what cultural journalists should report on”. Then came the easing of restrictions in the summer. And now we’re back to square one. However, unlike before, we know what to expect. It’s easier for some artists to rethink things (in part because their work is better suited to online adaptations), for others it’s unfortunately not. What I sometimes sense in the city is a sense of rage: the dull, sad fury of caged animals and the (thankfully, more rarely) existential angst of those who don’t know how they’re supposed to make ends meet (if you’re in a position to help, please support your fellow human beings!). And just like the first lockdown, something remains astir inside the apparent stillness of the closed performance venues.
Rhea Ramjohn* reflects on the metaphorical and physical masks that shape our day-to-day movements and interactions. The “performance” of creating space for one another during the Covid-19 pandemic has brought physical distancing to the forefront, and has exposed what many marginalised people have long-known as the pandemic of being othered.Continue reading “Veiled Motions”
Continue reading “Oceanic Rushing”
On 14/15 November 2020, Josefine Mühle is showing a video work on the ada Studio website as a teaser to the performance “LOTUS. the child was stung”, which has been postponed until next year. In this video work, she weaves aspects of prenatal psychology with our own fantasies into a lush dream landscape.
Inky and Imari imagine themselves as worms, and plot their way to continue squirming in creative arcs after being stepped on.Continue reading “Squirming Like Disco Stars”
Berlinklusion’s Kate Brehme* reflects on “You Are Not Invited”, a protest action created by the organisation in 2019 at the Haus der Statistik. This ‘un-exhibition’ — an exhibition that no-one was invited to, was Berlinklusion’s exploration of the relationship between gentrification, the temporary use of non-arts spaces for cultural purposes, and the neo-liberal structures that perpetuate inaccessible working conditions for arts workers in Berlin.Continue reading “You Are Not Invited”
Review written by Nine Yamamoto-Masson.*
Continue reading “Sajan Mani – Tyger von otherspur”
This performance was part of the festival Radical Mutation: On the Ruins of Rising Suns, curated by Nathalie Anguezomo Mba Bikoro, Saskia Köbschall, Tmnit Zere, in collaboration with Wearebornfree! Empowerment Radio, 23.9.–4.10.2020, HAU1+2+4.
Continue reading “Forming Bodies / Embodying Forms”
Julian Weber’s “Allongé”, which premiered on October 31st, 2020 as part of Tanzfabrik’s OPEN SPACES festival, takes the sculptural work of Constantin Brâncuși as a jumping off point, and the movement vocabularies of pole dancing and ballet as its material.
Inky Lee thinks about her personal relationship to dance and writing after attending an event in Berlin about dance and writing. After ardent attempts, she fails to articulate.Continue reading “Do Not Write”
Continue reading “Emotional Participation”
At first glance, Emmilou Rößling’s “The Fraternity”, performed during OPEN SPACES – How to get in Touch with… from 22 to 24 October 2020 at Tanzfabrik Berlin, seems like research on the topic of female togetherness. Beyond that, there is an emphasis on something more subtle, something which merges that which is felt with felt cloth.
Continue reading “New Growth”
Ballhaus Naunynstraße is one of the few (the only?) theatres in Germany that is committed to showing and supporting the perspectives of BIPOC and of those who identify as queer. It offers a strong impulse to development of postcolonial discourse and practices. Here, performance artist Nasheeka Nedsreal presents her first solo performance “New Growth”.
On September 11, 2020, Pêdra Costa* went to see “Inverted Landscapes”, a performance directed by André e. Teodósio (Teatro Praga) from Lisbon, which began inside with an exhibition by Teodósio and Bruno Bogarim, and was then taken out onto the streets. It was presented at the gallery Kunstraum Botschaft – Camões Berlim, by the performers Ana Tang, Aurora Pinho and Paulo Pascoal.Continue reading “We Have to Learn to Repair the Denial: Inverted Landscapes, Action in the Streets and Stolen Lives.”
Continue reading “The Politics of Rest”
Covid is stirring hard again. Due to corona precautions, the performance “Black Power Naps / Choir of the Slain (Part XX)” by artists and activists Fannie Sosa and Navild Acosta at the Sophiensæle needed to be cancelled. As an alternative, a live-stream was made available.
Continue reading “Looking Back”
In “Retrospectrum – 5 solos for 5 decades”, which premiered at DOCK 11 on 15 October, choreographer Tomi Paasonen takes us on a deeply personal journey through his life, and his body of work thus far.
Continue reading “Shared Vulnerability”
As a kick off to the Risk and Resilience festival, Olympia Bukkakis tells a very personal story of crisis, one in which she ties her own story as a drag performer with that of her female relatives, in “A Touch of the Other” at the Sophiensæle .
Inky Lee contemplates hormones, desire, and love in the context of attending Twinkle, a sound and movement gathering, and observing her cat’s hormonal explosion.Continue reading “Twinkle, a Hormonal Dance”
Continue reading “Female Futures”
Between December 1989 and March 1990, the Central Round Table met in East Berlin to discuss making reforms to the GDR, and to draft a new constitution. As I enter Sophiensæle, I am informed that the year is now 2090 and those visions have been implemented. “POSTOST 2090”, by Rike Flämig, Anna Hentschel and Zwoisy Mears-Clarke, is a celebration of 100 years of the draft constitution, of feminist utopias, and of ‘Ossifuturism’.
Inky Lee writes about her personal experience around rehearsing and performing in an unnamed work. The piece premiered in Berlin and consisted of three parts performed in three different locations.Continue reading “My Survival Tactic: Fantasising”
Continue reading “Apes and Humans”
On the opening night of the first part of Tanznacht Berlin Vertigo (9-13 September, the second part will hopefully take place in July 2021), Antonia Baehr and Latifa Laâbissi land in Studio 5 at Uferstudios where they merge with the chimpanzees Consul and Meshie.
Continue reading “Far, and yet so close: The Exhibit “Down to (planet) Earth” at Gropius Bau”
Under the title “Down to Earth: Climate, Art, Discourse Unplugged”, this exhibit at Gropius Bau from 13 August to 13 September 2020 focuses on ecology and sustainability. It is part of the Immersion program series, which aims to experiment with new formats of looking and presenting and to dissolve the dichotomy between the viewing subject and the object being viewed. This time around, indiginous cultures and new practices in sustainability and the holistic experience can be seen alongside experimental forms of contemporary art.
Continue reading “Walking as an Act”
It’s the fourth of September and five old men are playing a game of boules, while a soft sun peeks through the tall trees. I’m sitting in front of FELD Theatre for Young Audiences in Schöneberg, an area that is unfamiliar to me, and I allow myself to soak up the holiday atmosphere in anticipation of the premiere of Jo Parkes’s “The Walking Project”.
Continue reading “Waves Swarm”
This year, in lieu of its scheduled stage program, Tanz im August is offering an online selection of talks, films, and sound works, a digital conference, and two works in public spaces. Media and performance art collective LIGNA gives the participants in “Zerstreuung überall! Ein internationales Radioballett (Dissemination Everywhere! An international radio ballet)” an opportunity to practice a dispersed collective with the help of acoustic prompts, while still keeping to themselves.
Continue reading “In-Between Past and Future at Potsdamer Tanztage”
The thirtieth anniversary edition of Potsdamer Tanztage was supposed to have taken place in May 2020, and has been postponed to 2021. Under the motto ‘We Need Art!’, however, a smaller corona-proof festival was created between the 5 and the 16 August. I visited three performances — from Jonathan Burrows, Matteo Fargion, and Michiel Vandevelde — in which past and future intertwine.
Continue reading “Everyone drops, but no one falls.”
As a finale to her four-day workshop, “Practicing Empathy”, Yasmeen Godder is showing her eponymous piece – a group ritual, which shows us that we must now urgently consider what empathy might mean – during the SUBMERGE Festival at Lake Studios Berlin.
Continue reading “An Oscillator Exchange”
Performer, photographer, model, author and speaker Roland Walter was born with a lack of oxygen, causing spastic paralysis. In 2018 he proposed to choreographer Renae Shadler to develop a work together, which led to a research on the creation of a shared movement language. The duet “SKIN” premiered last Saturday 1 August 2020 at Uferstudios.
Continue reading “Minimal Movements: Isabelle Schad’s “FUR””
Sometimes you come across pieces that simply leave you speechless. Not because they passed us by and failed to move us. But because they touched us deeply. Regardless, I want to attempt to give an account of Isabelle Schad’s “FUR”. The showings with Aya Toraiwa were on 31 July and 1 August 2020 at the Wiesenburg-Halle.
The first post-lockdown indoor performance at Uferstudios was the premiere of “Transhuman Hai” by Porson’s Khashoggi, 24 July 2020. This performance on the possibilities of artificial humanity fit well into Studio 1, which resembles an indoor swimming pool with the audience seated looking into the deep-end.
These days, trans-humanity isn’t solely restricted to the realm of sci-fi movies. The real-world possibilities of altering the body through technology — and thereby moving beyond its physical limitations — have grown and are growing every day. From pacemakers that regulate the rhythm of the heart to bionic hands that are capable not only of receiving commands from the brain, but also of touching and feeling through connections with the nervous system. At the other end of the spectrum, a humanoid robot named Sophia had social conversations with her visitors, and robot dogs are used in elderly care to fight loneliness. These are just a few examples in a vast and thought-provoking world, some elements of which are simply beyond the bounds of my imagination. What would happen to our identities if we didn’t have physical bodies anymore, but rather existed merely as uploaded minds? Could one fall in love with a robot? Or is this distinction between robot and human already far too binary?
“Transhuman Hai” by Porson’s Khashoggi (Xeni Alexandrou and Andrea Rama) aims to tackle some of these questions. Their work is dedicated to “the vision of overthrowing the established notion of the human body as an organic system.” In order to do so, they’ve created a sterile laboratory for “Transhuman Hai” in which — according to their programme notes — personalities will be encoded into computer chips, and preserved brains implanted into the skulls of brand-new clones. That laboratory has been aesthetically portrayed by fifteen or so large grey cardboard bodies without feet that hang around the room. Many of them are suspended just centimetres above the ground. Judging by the curve of their hips, the female body has been taken as a model. These forms floating in the white space impart a deep sense of serenity that is emphasised by a living body that is slowly crawling around at the back of the performance space. The sound of dripping water makes me feel as though I’m looking into an underwater world in which time has been slowed down and movements are ponderous. This is even before I realise that the body at the back resembles that of a merman with a big blue tail instead of legs.
These first few seconds of serenity are brutally disrupted by a soundtrack made up of fragments of sentences repeated over and over again with apparent randomness. They seem to be texts taken from fiction or documentary films and each has a specific soundtrack underneath it. These snippets talk about topics such as morality, character building, psychology, claustrophobia, books. The soundtrack is so overwhelming — so intense and constant — that it becomes difficult to pay attention to what’s happening on stage anymore. I feel relieved when we’re given a break from the barrage of words, even though it is in the form a song, instead of the silence I’m longing for.
In the meantime, another figure has appeared on stage. She talks to us in Italian, but her words are drowned out by the soundtrack. She walks among the suspended bodies, touching and caressing them — but there is no warmth in her touch. The lighting design reveals the previously invisible transparent fishing wires the bodies are suspended from, with multiple bodies hanging on each thread. She slides them to one side, forming a group. It’s interesting how her touching and manipulating the bodies makes them seem even more inanimate — even more obviously made of cardboard. It’s the human body here that is unambiguously in control of the material. I let out a silent cheer for the one cardboard body which breaks as it is handled. The resulting bend feels like a sign of rebellion.
All the while, the merman has continued along his trajectory through the space. Due to the lack of water, his journey to the front of the stage has been heavy, as though he has had to drag himself. Even so, his arm-movements are still somehow soft and flowing. Half-man, half-fish, he survives by doing whatever he can in the conditions he is given. At one moment, the human performer leaves the stage, walks to the rail along the edge of the ‘pool’ and leans over it, looking down on the laboratory beneath her. From this position of apparent domination, even the merman seems to be under her control. “Transhuman Hai” left me feeling confused. I had expected an exploration of the messy interaction and intersection between the human and the non-human, and the possible futures arising from that. In the images that this work creates, however, humanity appears to overpower trans-humanity at every turn.
Continue reading “A PROPOSAL FOR CHANGE”
Tanzfabrik’s Time to Meet: Down to Earth — a festival as an experiment — was curated by Juan Gabriel Harcha, Elisabeth Leopold, and Felicitas Zeeden and offered a playground for artists to unlock our imaginations in the courtyard of Uferstudios.
In a garish tutti frutti aesthetic, Angela Alves’ “NO LIMIT” (Zoom premiere 16 June 2020 at Sophiensæle) stages a distorted world in which the handicapped make up the normative majority and the unhandicapped suffer from syndromes like CCD (Can’t Calm Down) and KNL (Knows No Limits). The game show provides us with a lesson in accessibility without lecturing us.
Pre corona days, I wouldn’t have watched “NO LIMIT”. I would’ve been home in bed with a freshly operated on, swollen knee that I couldn’t bend and that had to be cooled and elevated – and I would’ve watched something uninspired on Netflix. I wouldn’t have subjected myself to the effort of hobbling to the Sophiensæle and having to sit still for an hour with a constant twitch in my knee.
For a while now, the Sophiensæle has been offering so-called “Relaxed Performances”, which are intended to offer greater inclusivity in a casual atmosphere. You’re allowed to go in and out, to talk quietly, and to move around. That would make Angela Alves’ “NO LIMIT” a hyper-relaxed performance since the show wasn’t performed live as planned, but rather in the virtual realm with the help of Zoom. And it is precisely this aspect of the digital that permitted me – temporarily immobilized – access.
As the cool pack rests on my elevated knee, “NO LIMIT” begins. The show, staged in a garish nineties aesthetic, aims to create the greatest possible level of accessibility for viewers. Its rhythm is determined by translation aids, arranged in parallel, in the form of audio descriptions, sign language, subtitles and the option to have the descriptions read out loud in a chat room by a screen reader. The pauses that arise, translation cuts and duplications and the resulting decelerated tempo, sometimes make those of us unhandicapped, with our efficiency thinking, impatient. And they make quite clear that our expectations of how best to use time productively and efficiently are extremely questionable and egocentric. That is why all the performers leave plenty of time for their introductions. The sign language translator, Gal, the deaf moderator, Athina, the narrator, Simone, the dancer (and artistic director of the show), Angela, the musician, Christoph all describe in great detail how they look and their settings. Their garishly colored retro costumes, starry-sky backdrop, and the rainbow stairs are obviously invoking the parody RTL show “Tutti Frutti”from the early 90s – and “Tutti Frutti for All” is what today’s invitation to “NO LIMIT” promises. It takes on an interactive show element; a questionnaire where we can share – but are not obligated to – whether we have e.g. a disability, whether we’re part of the norm, or whether we know what a crip is – namely, a community of people that feels like it belongs to a discriminated minority.
The actual main part of the show clarifies what it’s all about. During a talk show sequence in which Angela Alves, the personified representative of the minority of unhandicapped people, is interviewed by Athina, we discover: people without disabilities would have a harder time here if we didn’t join in solidarity to ensure their inclusion. Because it’s the handicapped community that defines the norms here. But Angela doesn’t want to be included. She calls for empathy, the recognition of her unique individual maladies (CCD, KNL), and needs. She immediately gets sympathy for her lamentable minority status: Athina refers to it as “diversity aid”. And how does she dance despite her lack of handicap? But then Angela gets cut off… No one really wants to know the answer.
Towards the end of the show, as Angela, Athina, and Gal perform a kind of senseless sign language choreography in three Zoom windows, a choreography that becomes evermore chaotic, Simone’s linguistic translation reaches its limits. And it hits me: this is not about me –handicapped or unhandicapped – being able to follow everything. Instead it’s about a dedicated serenity that cares less about definitions of inclusion and more about a constant renegotiation of our social norms. Especially now.
“NO LIMIT” by Angela Alves will be performed once again tonight, 18 June 2020, at 8pm in the Sophiensæle. Duration: 75 minutes. Participation via Zoom. You can get a personalized access link to the webinar with pre-registration (ticket price: 5 euros).
“NO LIMIT”, premiere 16 June 2020, Sophiensæle Berlin — Artistic director, choreography, performance: Angela Alves — dramaturgy: Alexandra Hennig — performance, choreography: Athina Lange — performance, sign language translator, choreography: Gal Naor (The progressive wave) — performance, audio description: Simone Detig — sound, performance: Christoph Rothmeier — set design: Philippe Krueger
English translation by Melissa Maldonado
Continue reading “Back to the Classics”
Event cancellations due to Covid-19 measures didn’t just affect the dance scene. How did major theaters respond during the pandemic? A brief glimpse at the Staatsballett Berlin to mark Polina Semionova’s appearance in the concert performance of Camille Saint-Saëns’ “The Carnival of the Animals” at the Staatsoper Unter den Linden.
Continue reading “On Bodies Communing: An Interview with Isabelle Schad”
The plan was for Isabelle Schad’s trilogy “Collective Jumps“, “Pieces and Elements” and “Reflection” to be shown for the first time in one stretch at HAU Hebbel am Ufer in June. She talks with Jette Büchsenschütz about contemplation, the collective, and the power emanating from interlocking bodies – and it becomes evident how relevant her pieces are today.
Continue reading “Nah Dran – interconnecting the studio and the screen”
NAH DRAN — ‘close by’, ‘proximate’, ‘intimate’. Attending this research series, existing through the continuous investment of ada Studio in young, Berlin-based choreographers, usually means gathering in the small studio number 7 at Uferstudios. As an audience member, you are almost close enough to touch the performers. This time, however, it’s different. There is no physical proximity, there is only the online medium.
Continue reading “Berlin isn’t a German city / Berlin ist keine deutsche Stadt”
No shows, no training, no touch, no perspectives: Covid-19-measures hit the dance scene heavily. Artists and institutions are longing for solidarity – beyond their own needs.
Continue reading “You OK, Bitch?”
The Battlefield Nurse has existed for over 5,000 years. She is a hooker, healer, sister, lover, mother, and a midwife of the dying. Together with an army of other battlefield nurses, she cares critically, by addressing the structures that make us sick. In the online performance “You OK Bitch?” choreographer Jeremy Wade’s alter ego aims to unpack the Covid-complicated now.
Continue reading “City Expansion — (Out)Stretching the Senses to Our Urban Surroundings”
After days of being homebound, practice lab EINS from Sabine Zahn’s project “Stadterweitern (City Expansion)” gave me a chance to rediscover my senses (and with them a piece of Berlin). During the first of four five-day labs to take place in different central locations in Berlin from May to November 2020, I had the opportunity to experience Ernst-Reuter-Platz close up. Lab EINS also included a performance lecture and a discussion.
Continue reading “Against Translation?”
On the opportunities for performance art in the age of the contact ban and why the shuttering of theaters can also be seen as an opportunity. Reflections on the festival “Reclaiming the live aspect of the Performing Arts in the current times” initiated by Felix M. Ott and Diego Agulló and supported by Tanzfabrik Berlin
Continue reading “My Only Memory; A Choreography to Listen To”
“My Only Memory”, by Juan Dominguez and performed by Joshua Rutter, premiered in 2018, and has now been transformed into an online performance for Radialsystem’s series “New Empathies”. This choreographed text is a brave attempt to create collectivity and practice empathy in times of physical distancing.
Continue reading “HOW ARE YOU?”
“Von hier nach dort” didn’t premiere on April 23 in fabrik Potsdam as planned. When the news came in that the show was going to be cancelled, André Lewski, Lee Méir, Robert Konderosi, Lidy Mouw, and Lea Kieffer were already in the last phase of preparing this participatory project for kids on the topic of farewell and death. I had planned to see and review the work. Instead, I’m having a Jitsi conversation with Lee, André, and Lea.
Continue reading “Another Kind of Kinesthetic Empathy Is Transmitted on Screen”
In the times of corona, when live dance events are (still) not possible, the digital format remains. You can love it or leave it, and not everything is suitable for filming. However, there are dance films, films explicitly choreographed for the camera and the screen: available for viewing until 6 May in POOL 20 – Spring Edition of the Internationales TanzFilmFestival Berlin at DOCK 11 online.
Continue reading “Distance Dance”
The wide offer of online dance classes demonstrates how we can all stay connected to one another despite social distancing while dancing alone. On the complex interplay between closeness and distance in the time of Corona.