Continue reading “You are conducted to this pressure”
TANZPLATTFORM 2022 >>> In “Overtongue”, Michelle Moura carries her audience off into the polymorphic world of ventriloquism and dissociates the perceptions of sounds and physicality. The performances from 23 to 27 April at the Sophiensæle will take place as a follow-up to Tanztage Berlin 2022.
Continue reading “Walling the Desert”
In “Death Valley Junction”, playing 21 and 22 January as part of Tanztage Berlin 2022 at the Sophiensæle, Lulu Obermayer staged a ‘solo duet’ with one of her artistic foremothers that got me wondering where — in this love song to a performer and to performance — the audience fits in.
Continue reading “Reveries at the Cusp”
Showing as part of the online programme of Tanztage Berlin 2022, Layton Lachman and Samuel Hertz’s sonically-charged “DOOM (The Movie)” creates a world of catastrophe and creation. Parvathi Ramanathan steps into this world in a daze of delirious illness and imagination.
Continue reading “I Thought I Could Find The Words”
The text that follows is not a review in the traditional sense, but rather what I would call a ‘concrete response’ to Ana Lessing Menjibar’s “Perpetual Archive”, which she performed at the Sophiensæle, 13 & 14 January, as part of the Tanztage Berlin 2022 festival.
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 …”
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.
Continue reading “Satirical dances”
In their latest show “Endangered Species”, performed at Sophiensæle as part of Tanztage Berlin 2020, drag house for QTBIPoC House Of Living Colors explore how not only text, but also dance can be instrumentalised as political satire.
Inky Lee embarks on a hairy journey, inspired by Areli Moran’s “La Postal de nuestra Existencia,” in which Moran becomes the goddess of ‘Hair, hair, long beautiful hair!’
Continue reading “Long Black Hair”
“La Postal de nuestra Existencia” premiered at the Sophiensæle on 16 January 2020 within the frame of Tanztage Berlin.*
Continue reading “Expelling Oppression with a Loving Thrust.”
“JUCK” — something between a celebratory techno-ritual, trauma release therapy, and a total exorcism of patriarchy — is more than a powerful, and finely tuned performance. The work, which featured at Tanztage Berlin 2020, is a survival strategy to ensure community and joy in the face of oppressive systems.
Continue reading “Berlin-Cool”
“Sarabande” by Sasha Amaya, and “Tricks for Gold (T4$)” by Frida Giulia Franceschini premiered at the Sophiensæle on 8 January in the frame of Tanztage Berlin 2020.
Continue reading “An Elegant and Generous Denial.”
“Neptune”, a 45-minute solo by Lois Alexander in collaboration with Nina Kay, premiered on 8 January 2020 at Sophiensæle in the framework of Tanztage Berlin.
Continue reading “Big Wigs & Space Suits”
Every January, the Berlin dance audience flocks to the Sophiensaele for Tanztage, the annual inauguration event. The ten-day festival, which has existed for over twenty five years now, kicks off the new dance year by focussing on emerging choreographers making work in Berlin.
Continue reading “Let’s Get Personal”
Anjal Chande / The Soham Dance Project present “This is how I feel today”, a Bharatanatyam-rooted work charting the individual experience within its societal context.
Continue reading “Almost seduced by a peacock”
The peacock knows how to impress. It struts along, unabashed, displaying its long, languorous feathers that sprout from its fluffy behind. Its spectators have no choice but to marvel at its divine beauty. Nature has endowed this bird with the power of seduction, strong enough to dazzle not only future mating partners but also us humans.
Continue reading “Game Theory”
Opening Tanztage Berlin 2019, Mirjam Gurtner’s “Skinned” places improvisation within a strictly delineated frame to create a contradictory, challenging work which belies any cohesive interpretation. Combining intuition and artifice, “Skinned” sets itself a difficult task, yet a generosity at its core entices us along for the journey.