TANZPLATTFORM 2022 >>> In “Telling Stories – a version for three” by Fabrice Mazliah / Work of Act, playing 17 – 19 March at Radialsystem, as part of Tanzplattform 2022, three dancers play with invisible objects that their imaginations, joined with those of the audience, make real.Continue reading “What a Table’s Dreams Are Made of”
TANZPLATTFORM 2022 >>> At Radialsystem, Antje Pfundtner in Gesellschaft performed the solo “Sitzen ist eine gute Idee (“Sitting is a good idea”) on 16 and 17 March. These two texts were written as part of a two-day tanzschreiber writing workshop during Tanzplattform 2022 and under the direction of Mareike Theile, Johanna Withelm, and Alex Hennig. Inspired by a passion for writing and an exchange about dance and dance critique, the authors had an opportunity to challenge and expand their own writing practice. Texts: Heike Brunner, Doreen Markert.Continue reading “Sit-Stay. Re-envisioned.”
All reviews can be read here >>> From 16 to 20 March, the Tanzplattform Deutschland 2022 in Berlin, hosted by HAU Hebbel am Ufer, brings together 13 current and remarkable positions of dance and choreographic creation. Authors and guest authors from the Tanzbuero Berlin’s online review portal tanzschreiber are reviewing the 13 pieces selected for the Tanzplattform 2022 on tanzschreiber.de. Individual texts are written by the participants of the tanzschreiber writing workshop “Texte in Bewegung” under the direction of Mareike Theile, Johanna Withelm and Alex Hennig.Continue reading “tanzschreiber articles about Tanzplattform Deutschland 2022 in Berlin”
Continue reading “Dance Partners and Thought Partners”
Solistenensemble Kaleidoskop’s “LOVE:15”, playing 4-6 March 2022 at radialsystem, was all about how a pair-ship creates a new, unique, and never-finished world. Audience pairs can participate in this creative act, too.
Continue reading “From Meteors to Mycelia”
Sergiu Matis’s “DRANG”, which premiered at radialsystem on 17 February 2022 as one of the featured performances of Tanzfabrik’s Open Spaces festival, keeps its emotional distance while still offering to suck audiences into its world by playing with size and scale.
Continue reading “Ode to the Structure”
After a digital premiere in March 2021 and a series of live performances with pre-recorded music 24-26 September, Sasha Waltz & Guests’ new work “In C” finally premiered to a live audience with live music performed by New York based ensemble “Bang on a Can All-Stars” at radialsystem from 10 to 12 December. “In C” is set to an eponymous piece by US American minimalist composer Terry Riley, and follows a variable structure of 53 movement patterns that 12 dancers combine and intertwine in a seemingly improvisational fashion.
Continue reading “Weaving Wonder”
In the performance “Silkworms” (Radialsystem, seen on 3 December 2021) choreographers and dancers Renae Shadler and Mirjam Sögner interweave choreography with poignant visuals in order to highlight the skin as a sensual vessel. Through persistent attention to tactile feedback, they generate a choreographic structure that is able to channel the creation and dismantling of imaginative landscapes and which is marked by the outcomes of a process of sensorial research and movement production.
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.
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 “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.
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 “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 “Tanz im August Review: ten”
In this Tanz im August Review David and Alex talk about the simplicity in the complexity in Deborah Hay’s piece “ten” at Radialsystem.
Radialsystem recalls Ginevra Panzetti and Enrico Ticconi’s “HARKLEKING” to Berlin as part of their series New Empathies.Continue reading “Distancing Acts”