saison 15/16 sept - dec

Transcrição

MEDIENINFORMATION
SAISON 2015 / 2016
PROGRAMM SEPTEMBER-DEZEMBER
MISSION STATEMENT
Tanzquartier Wien is a house of opening. We are interested in choreographical processes as operations on
the ‘open heart’ of art and society. We understand ourselves and our work as a place and an act of hospitality, welcoming the other, the uncertain, and the pleasure therein. That is: Your pleasure therein! We want
to create preconditions and motivations for a differentiated, inspired and socio-critical approach to contemporary dance and performance, and invite you to a joint experience and reflection of the choreographic.
The choreographic has an expanded concept of choreography – as a physical/spatial/temporal writing and reading method, as performative tension between expression and exhibition, expanded to and in
various forms, media, genres. We focus on the essential arts crossing quality of choreography as one of the
most promising contemporary forms of thought.
Tanzquartier Wien expands the concept of dance with a parcours through the world which surrounds us and gazes at us, in order to instill art optics into political processes, and politics into
artistic processes. We regard our world with the sharp eyes of contemporary dance, which again
grants a precise fuzziness of forms and a keen permeability of content. In this, we ex-temporize
contemporariness critically. We try to make our time talk choreographically, in order to make the
movements in our society – in all their aesthetical, political, and social complexity – visible,
movingly and through movement, and to reflect them choreographically.
Tanzquartier Wien is one of the foremost houses for contemporary dance and performance in Europe.
Since its foundation in the year 2001 it has produced, presented, enabled, rethought, formed, and experimented together with contemporary artists. Our programme tempts you as well as ourselves never to stop
scrutinising our thoughts and actions. We take up a critical position, investigating our actions as an institution, artistic quality and social relevance, and we aim to develop and guarantee sustainable artistic production processes.
Our weekly changing stage programme features guest performances and coproductions of internationally renowned artists from Austria and abroad, which we present from September until the end of April mostly
at Tanzquartier Wien / Halle G and Halle E, in May and June at the Tanzquartier Wien / Studios, as well as
in public space. The daily training and workshop programme offers professional dancers an opportunity
for further education and networking. Monthly lecture series on annually changing, aesthetically and politically urgent topics provide space for intensive investigation and discussion. The publicly available theory
and media centre offers singular research possibilities with the help of our unique library and videotheque
– and as of the new season 2015/16 also with our online mediatheque, which gives access to the TQW
archive and is a forum for the works of all artists producing in Austria.
Tanzquartier Wien is the central dance and performance venue in Europe, striving to rethinking the choreographic in aesthetic theory and artistic research. The advanced and continuous theoretical work puts
historical concepts in relation with current movements of thought in various cultural contexts. We investigate the correspondence between body discourses, philosophy, politics, and religion, dedicate ourselves
to asthetical and political topics such as the question of being-with, community, and others – beyond the
politics of the day.
As we are situated in the Museumsquartier in Vienna, one of the largest areas dedicated to art and culture
in the world, co-operations with other institutions play an important part in our artistic self-conception. As
a motor for the further development of Austrian and international dance and performance, we initiate and
participate in the networking of artists and institutions by establishing international projects, coproductions,
support systems and information on a structural level, e.g., with the support model International Network for
Dance & Performance Austria (INTPA), the European Dancehouse Network (EDN), and European co-operation projects such as Modul-dance (2009–2014).
Artistic processes are essential to us: they are coached, supported, initiated and also accompanied
by us in risk. We want to support artists and promote their art. To this end we provide protected spaces
where the incomplete may formulate itself, we bring opposite positions in resonance with each other, accompany working processes with friendly critique and open them up to the audience. Taking up open ends,
leading them on and mediating between working processes, productions, and the public are central motivations for the curation of our programme of international guest performances, of coproductions, the theory
series, artist residencies, workshop and mediation offers, and the artistic-theoretical parcours SCORES as
well as our SCORES publications.
We invite you to participate in one of the most fascinating and seminal contemporary art forms,
which makes time, bodies and spaces vibrate. We want to share our enthusiasm and our engagement for contemporary dance and performance with you!
OVERVIEW
AO& (AT) / MARINO FORMENTI (IT/AT) / TANZQUARTIER WIEN + GÄSTE
UNTER TAG
ASSEMBLY FOR EVERYONE
FRI 25. SEPT. 8.00 h – SAT 26. SEPT.
from 8.00 h (24 hours) in TQW / Halle G
Admission free
+++
JONATHAN BURROWS (GB) + MATTEO FARGION (IT/GB)
Body Not Fit For Purpose + Show and Tell
Austrian Première
FRI 2. OCT. + SAT 3. OCT.
20.30 h in TQW / Halle G
+++
PUBLIC IN PRIVATE / CLÉMENT LAYES
Double evening: TITLE (Showing) + Allege
(FR/DE)
+++
SASHA WALTZ & GUESTS (DE)
Körper
Austrian Première
THU 15. OCT. + FRI 16. OCT.
20.30 h in TQW / Halle E
+++
ALIX EYNAUDI (BE/AT)
Edelweiß. Ein getanztes Rebus
Première
+++
Lecture Series
THE PLEASURE OF THE TEXT. A Discursive Ménage-à-trois
GABRIELE BRANDSTETTER (DE) / ANNE JUREN (FR/AT) / GERD NEUMANN (DE)
FRI 23. OCT.
18.00 h in TQW / Studios
Admission free
+++
METTE INGVARTSEN (DK)
69 positions
WED 28. OCT. + THU 29. OCT.
No admission under 16 years
+++
7 Pleasures
+++
DANYA HAMMOUD (LB)
Mahalli
Austrian Première
WED 4. NOV. + THU 5. NOV.
+++
TAOUFIQ IZEDDIOU (MA/FR) + MERYEM JAZOULI (MA/FR) + ELISABETH B. TAMBWE (CG/FR)
Devine qui vient danser ce soir ?
Austrian Première
FRI 6. NOV. + SAT 7. NOV.
+++
THE LOOSE COLLECTIVE (AT)
The Music of Sound
THU 12. NOV. – SAT 14. NOV.
+++
BERNHARD LANG (AT) + PHACE (AT) + SILKE GRABINGER / SILK Cie (AT)
Monadologie XVIII »Moving Architecture«
Première der Wiener Neufassung
In Kooperation mit WIEN MODERN
WED 18. NOV, 20.30 h + THU 19. NOV
+++
SCORES #10 // Philosophy On Stage #4
Artist Philosophers – Nietzsche et cetera
THU 26. NOV. – SUN 29. NOV.
in TQW / Halle G + TQW / Studios
a cooperation of PEEK-Projekt* „Artist Philosophers.
Philosophy AS Arts-Based-Research“ and Tanzquartier Wien
+++
NOÉ SOULIER (FR)
Removing
Austrian Première
FRI 4. DEC. + SAT 5. DEC.
+++
Lecture Series
CLAUDIA BOSSE (AT) / ANDREAS SPIEGL (AT) / PAUL WENNINGER (AT)
FRI 4. DEC.
Admission free
+++
TANZ COMPANY GERVASI (IT/AT)
What kind of animal is?
Première
SUN 13. DEZ.
PERFORMANCES
AO& (AT) / MARINO FORMENTI (IT/AT) / TANZQUARTIER WIEN + GÄSTE
UNTER TAG
ASSEMBLY FOR EVERYONE
FRI 25. SEPT. 8.00 h – SAT 26. SEPT.
from 8.00 h (24 hours) in TQW / Halle G
Admission free
On September 25,t 2015 from 8 o’clock in the morning another habitat will be available for 24 hours to
the people of Vienna. 3000 cubic metres of space under the earth offer security and shelter. Drinks, food,
sleeping possibilities and sanitary installations allow for stays for any wished for length of time.
This gathering explores the question of what incites people to get up every day anew, continue their lives
and what they want or have to do. Guests from diverse geographies, fields of work and areas of live will
speak out on their inner motors and motivations of acting, the relation between “unmoved mover” and actual movens.
Impulses and directions in this simultaneously interactive as performative, intimate as public, quotidian as
staged space are incited through the boundaries interweaving interventions and temporary relations constructed around the sonic spaces of pianist Marino Formenti and the spatial proposals and social situations
of AO&. Occurrences appear and accumulate over the day in different stages and phases to condense
successively towards the evening and extend overnight. Guests simultaneously become originators and
witnesses of events, encounters and utterances of this assembly of which everybody can and shall become
part.
HEIDI ACHTER, THOMAS BALLHAUSEN, ESTUARDO CHACÓN, BERNHARD CELLA, TIM ETCHELLS,
MALIKA FANKHA, ARNE FORKE, CHRISTINE GAIGG, PHILIPP GEHMACHER, ELIO GERVASI, SUSANNE VALERIE GRANZER, MARIELLA GREIL, RICO GULDA, THOMAS JELINEK, ERICH RENÉ KARAUSCHEK, GÖKHAN KAYA, BARBARA KRAUS, THOMAS LEVENITSCHNIG, ROBERTA LIMA, TOM MARSCHALL, LYDIA MISCHKULNIG, BORIS ONDREICKA, FRITZ OSTERMAYER, BRUNO PUDSCHEDL,
OMAR RAJEH, AUGUST RUHS, MICHAEL TURINSKY, VETCHESLAV SENIUGOV, ANAT STAINBERG,
KRIS VERDONCK, ALFRED UHL, DORIS UHLICH, YOSI WANUNU, DIETER WÜRCH, SUHAIB ZIDAN,
TOMAS ZIERHOFER-KIN, YOU, ME and many more.
Guests will be successively published!
#labour #primummobile #earth #darkness #glade #encounter #motor #you/me #gathering
BIOGRAPHIES: SAISON OPENING
AO& (Philipp Furtenbach, Philipp Riccabona und Thomas A. Wisser) haben seit 2008 eine Vielzahl an Projekten im In- und Ausland verwirklicht und bewegen sich dabei in den Feldern Bildende Kunst, Performance, Architektur und Orts-, bzw. Regionalentwicklung. AO& entwickeln Raumfolgen und Dramaturgien, durch
die sich außergewöhnliche Bedingungen für Aufenthalt, Kommunikation und Produktion ergeben. Kunst
wird als Handlungsform und Erweiterung des Möglichen, Erlaubten verstanden. Seit 2012 werden Settings
für Tonaufnahmen entwickelt und Serien von Interviews zu biografischen und gesellschaftspolitischen Themen geführt. Seit Jahren entsteht ein umfangreiches Werk an Fotografien, Zeichnungen, Objekten sowie
Audio- und Videodokumenten.
www.aound.net
Marino Formenti, described by the Los Angeles Times as “a Glenn Gould for the 21st Century” has been
working for many years on the examination of his métier. Celebrated in the classical halls of New York, London or Berlin, he repeatedly creates musical spaces that negate or question the structures of the enterprise.
In Nowhere, for example, (performed among other places in Graz, Berlin and Brussels) he performs,
sleeps and eats for up to four weeks without a break in a simultaneously private and public space in order
to create a musical situation that, as he says, “does not say ‘listen to me’.”
In the project Schubert and I, which is documented in the eponymous film by Bruno Moll, he makes music
with musical lay-people based on music by Schubert by accompanying them through music and life and
developing musical interpretations together and
on an equal footing.
One to One is a two-hour musical encounter originally conceived for Art Basel in 2013 with one listener
each.
In Seven studies of communication and musicianship (Berlin 2015), he spends a whole day with seven
different unknown people, one person per day, from breakfast until late at night. The people only know that
they have to be prepared to make music themselves, that is, to sing. The recordings became part of the
installation Selber Künstler [Self Artist] as sound impressions of the “studies”.
Formenti calls conventions into question on the musical stage, where he also works: in Kurtag’s Ghosts and
Liszt Inspections, through the strictly conceived dialogue between selected compositions and an unbroken
flow he strives for a procedure that Joshua Kosman of the San Francisco Chronicle compared to the prose
technique of James Joyce. In Torso he plays with the idea of the incomplete, by putting together fragments
from Bach and Mozart to Rihm and Barraquè into a whole. In The Song Project, premiered at New York’s
Poisson Rouge, he compares pop songs by Nirvana and Coldplay with works by Bernhard Lang and Luciano Berio in a revue-like dramaturgy.
He works both with musical institutions such as the festivals in Salzburg, Lucerne and Edinburgh, or
concert halls in Berlin, Vienna, London or New York, as well as in the performative field (Sterischer Herbst,
Berlin Festival, Brussels Performatik), in the field of art (Art Basel, Fahrbereitschaft Berlin) or in the theatre
(Festival d’Automne Paris, TQW).
He is the holder of the 2009 Belmont Prize for Contemporary Music of the Forberg-Schneider Foundation in
Munich.
www.marinoformenti.com
JONATHAN BURROWS (GB) + MATTEO FARGION (IT/GB)
Body Not Fit For Purpose + Show and Tell
Austrian Première
“There‘s a beguiling mix of the scholarly, the quizzical and the righteously indignant that is unique to Fargion and Burrows...the concentration of their work demonstrates how much expressive power even a small
gesture, a tiny variation of tone or rhythm, can possess.” (The Guardian)
The work of Burrows and Fargion radiates delight even as it makes the audience think. Over the past
thirteen years the two artists have built a body of duets which mix the formality of classical music composition with an open and often anarchic approach to performance and audiences, bringing them a worldwide
following.
Body Not Fit For Purpose is the duo‘s first overtly political work, taking as its starting point the inadequacy
of the dancing body to express that which is of concern and at the same time the inherent radicality of the
attempt. The performance unravels the link between meaning and action, raising questions in the midst of
our laughter.
In Show And Tell Jonathan Burrows and Matteo Fargion explore the hidden influences that have led to a
growing body of work made together over many years, and in particular their long series of recent duets.
Revealing the vital role that mimicry plays in creative process, Burrows and Fargion compose a presentation of formative images and sounds, and in so doing examine what is absorbed and transformed, buried
and disclosed, engaged and appropriated in the making of performance works.
#humor #duet #politicality #dance #BurrowsAndFargion #classicanarchic
BIOGRAPHIES: JONATHAN BURROWS (GB) + MATTEO FARGION (IT/GB)
Jonathan Burrows started out in classical ballet, dancing with the Royal Ballet in London for thirteen
years, during which time he became more and more interested in contemporary dance. While he was at
the ballet he met and began working with the choreographer Rosemary Butcher and performed in many of
her pieces, which influenced him to experiment more in his own choreography. He and Matteo have been
working together for the past twenty five years, focussing now mostly on an ongoing series of duets. Jonathan has also made work for Sylvie Guillem, William Forsythe‘s Ballett Frankfurt and the National Theatre
London, and he‘s been associate artist at Kunstencentrum Vooruit in Gent, London’s South Bank Centre
and Kaaitheater Brussels. He‘s a visiting member of faculty at P.A.R.T.S Brussels and has also been Guest
Professor at universities in Berlin, Gent, Giessen, Hamburg and London. A Choreographer’s Handbook has
sold over 8,000 copies since its publication in 2010 and is available from Routledge Publishing.
Matteo Fargion studied composition with composers Kevin Volans and Howard Skempton. His interest in
dance began after seeing Merce Cunningham perform in London, which encouraged him to apply for the
International Course for Choreographers and Composers through which he met choreographer Jonathan
Burrows. Apart from his work with Jonathan, Matteo is also active as a teacher, leading composition workshops worldwide. He is a long-time visiting member of faculty at PARTS, the school of Anne Teresa De
Keersmaeker in Brussels, where he has worked on a new approach to teaching composition to choreographers, within a framework of music practice but built also on his wealth of experience as a performer. He
has also made 4 pieces for dance students at Laban, Chichester and Bedford Universities in the UK. Fargion has written music for other choreographers including Lynda Gaudreau and Russell Maliphant, and has
worked particularly closely with choreographer Siobhan Davies, collaborating in some of her most significant recent work including The Art of Touch (1995), Minutes for the Collection (2009) and Songbook (2011).
Fargion also writes for theatre, particularly in Germany, where he has worked over a number of years at the
Residenz Theater Munich and at the Berlin Schaubühne, with Thomas Ostermeier and Elmar Goerden.
CONCEPT + PERFORMANCE: Jonathan Burrows + Matteo Fargion
SUPPORTED BY: Kaaitheater Brussels, PACT Zollverein Essen, Sadler‘s Wells Theatre London and BIT
Teatergarasjen Bergen.
Body Not Fit For Purpose was commissioned by 2014 Venice Biennale.
PUBLIC IN PRIVATE / CLÉMENT LAYES
Double evening: TITLE (Showing) + Allege
(FR/DE)
TITLE (Showing)
Things are quite simply available components of our lives – but are they also therefore (more) present for
us? Playfully, Clément Layes gives them a stage, puts them together and thus gives rise to new images. In
TITLE the otherwise dumb companions begin to speak. Here Layes with customary humour defies eveyday
logic, suspends conventions of perception and releases the vibrating potential of the objects.
In this showing Clément Layes presents his new production in a double performance with the solo Allege,
with which he began his artistic exploration of the “world of things” in 2010.
CHOREOGRAPHY: Clément Layes
PERFORMANCE: Clément Layes, Felix Marchand, Vincent Weber
LIGHTING: Ruth Waldeyer
SOUND CONSULTANCY: Ulrike Ertl
DRAMATURGIC ADVICE: Jonas Rutgeerts
PRESS & PRODUCTION: björn & björn
A production by Public in Private / Clément Layes. Supported by the Mayor of Berlin – Senate Chancellery
– Cultural Affairs, and the Fund for Performing Arts. Supported by the Sophiensaele, Tanzhaus NRW, Stuk
Leuven, Tanzquartier Wien, Uferstudios und Flutgraben e.V.
The guest performance is supported by the National Performance Network (NPN).
Allege
“Layes creates a space of the possible in which everything can be different from what it actually is.”
(corpusweb.net)
Our everyday life consists of routines that help us to come up to the demands that are made on us. At the
same time they limit us, disregard alternatives and shift the gaze onto another world. It is a balancing act
that we complete every day.
In Allege the choreographer Clément Layes translates these routines into physical limitations. Balancing a
glass becomes an obstacle to fulfilling self-imposed tasks that initially make no sense. Irritated and amused, one follows the attempt of a man on the stage to water a small plant. But for all the strangeness, there
seems to be an inner logic behind the innumerable attempts. Unswervingly he implements his plans with
acrobatic skill. What initially seems to be entertaining slapstick reverses in front of spectators’ eyes into an
astute and profound exploration of the world. In an instant, Clément Layes dismantles traditional knowledge, rearranges meanings and thereby gives rise to a new world.
CHOREOGRAPHY/CONCEPT: Clément Layes
PERFORMANCE: Vincent Weber
DRAMATURGY: Jasna L. Vinovrski
MUSIC: David Byrne
COSTUMES: Public in Private
LIGHTING: Ruth Waldeyer, Florian Bach
A production by Public in Private. With thanks to the Sophiensaele, Tanztage Berlin, Festival Ardanthé,
Dock 11, CND Paris.
#DoubleDanceHumour #CommunityOfGaps #PoliticalAct #ReliefPotential
SASHA WALTZ & GUESTS (DE)
Körper
Austrian Première
THU 15. OCT. + FRI 16. OCT.
20.30 h in TQW / Halle E
Bodies can only be understood in reference to others. Even if they are alone. Because if I am alone it is
only because the others are absent. (Judith Butler)
What is the body anyway? Is it a thing? Is it a force? How is it composed? How do we live our bodies?
Körper [Bodies] is the first part of the eponymous choreographic trilogy and at the same time one of Sasha
Waltz’ most outstanding works. With her thirteen dancers she visualises and analyses the shell and the
interior of the human body, its beauty and ugliness, its mortality and its striving for the idealised form. A
reduced space serves as the setting. It is formed by a high, round concrete wall. Its nakedness intertwines
with the nakedness of the dancers and anatomically exposes them. The human organism is both illustrated as a unified system as well as being dismantled into its fragments: the bodies made of water, the legs
running, the elbows supporting, the organs working the heart beating, the eyes crying, knees, backs, jaws
cracking… . The fragmentary exposes the naked bodies down to their tendons and bones, has them decompose into their individual parts and thus shakes the stereotypical images. In bizarre, occasionally funny
scenes, bodies undergo a choreographic moulting of language and norms. The investigation is an echo of
the dancing body, of the space and their relations to one another.
For Sasha Waltz, the “body researcher”, her work is an attempt to understand – to define individual aspects, beyond the form of the body, facing the systems that keep us alive, the links to bodies that are not
material. Through deconstruction body constructs are exposed and reformulated.
#Dance #OppositionBodyLanguage #SpaceMateriality #BrutalBoldBeautiful #MusicHPKuhn
#DanceHistory
LECTURE
Der anagrammatische Körper
by Krassimira Kruschkova
FRI, OCT 16
Admission free
DIRECTION / CHOREOGRAPHY: Sasha Waltz
MUSIC: Hans Peter Kuhn
STAGE: Thomas Schenk, Heike Schuppelius, Sasha Waltz
COSTUMES: Bernd Skodzig
LIGHTING: Valentin Gallé, Martin Hauk
DRAMATURGY: Jochen Sandig
DANCE / CHOREOGRAPHY: Davide Camplani, Lisa Densem, Juan Kruz Diaz de Garaio Esnaola,
Luc Dunberry, Annette Klar, Nicola Mascia, Grayson Millwood, Michal Mualem, Virgis Puodziunas,
Claudia de Serpa Soares, Xuan Shi, Takako Suzuki, Laurie Young
REPETITION: Juan Kruz Diaz de Garaio Esnaola
ASSISTANT DIRECTOR: Francesca Noia
WARDROBE: Margaretha Heller, Carina Castler
HAIR / MAKE-UP: Stefanie Kinzel
STAGE TECHNOLOGY: Daniel Herrmann
LIGHTING TECHNOLOGY: Olaf Danilsen
SOUND TECHNOLOGY: Lutz Nerger
ASSISTANT TECHNICAL DIRECTOR: Leonardo Bucalossi
TOUR MANAGER: Karsten Liske
TECHNICAL DIRECTOR SASHA WALTZ & GUESTS: Reinhard Wizisla
DIRECTOR SASHA WALTZ & GUESTS: Jochen Sandig
A production by the Schaubühne am Lehniner Platz, Berlin, presented by Sasha Waltz & Guests. A coproduction with the Théâtre de la Ville Paris.
Sasha Waltz & Guests is supported by funds from the Capital City Cultural Fund and the Cultural
Department of the State of Berlin.
BIOGRAPHY: SASHA WALTZ (DE)
Sasha Waltz was born in Karlsruhe, Germany. She studied dance and choreography in Amsterdam and
New York. In 1993 she co-founded her company, Sasha Waltz & Guests, with Jochen Sandig in Berlin.
In 1996 she opened the critically acclaimed Sophiensaele, a theatre she cofounded with Sandig. In 2000,
Waltz was named one of the artistic directors of Berlin’s Schaubühne am Lehniner Platz where – amongst
others– she created the pieces Körper, S and noBody as well as the choreographic installation insideout. In
2005 Sasha Waltz & Guests once again became an independent company, with Jochen Sandig as artistic
director. In January 2005 her first opera-choreography Dido & Aeneas had its world premiere at Staatsoper
Unter den Linden, Berlin. In 2007 Sasha Waltz presented, among other works, two music-theatre choreographies: Medea with music by Pascal Dusapin and text by Heiner Müller had its World Premiere in Luxemburg in May as a feature of the European Culture Capital City 2007. In addition the Opéra de Paris in
October 2007 presented the choreography by Sasha Waltz to Hector Berlioz’ dramatic symphony Roméo et
Juliette. The music-based choreographic project Jagden und Formen (Zustand 2008), music by Wolfgang
Rihm, developed together with the Ensemble Modern was premiered in Frankfurt am Main in the spring of
2008. In March 2009 Sasha Waltz & Guests presented the project Dialoge 09 – Neues Museum in the New
Museum in Berlin, reconstructed by David Chipperfield. In 2009 Sasha Waltz received an artist’s grant for
Villa Massimo im Rome. Dialoge 09 – MAXXI by Sasha Waltz inaugurated Rome’s new museum for contemporary art, built by Zaha Hadid, in November 2009. In 2010 her choreography Continu was premiered in
Zurich, Switzerland, followed by her next choreographic opera composed by Pascal Dusapin, at the
Théâtre des Champs-Élysées, Paris. In May 2011 the opera Matsukaze by Japanese composer Toshio
Hosokawa with choreography by Sasha Waltz premiered at the Oper La Monnaie in Brussels. In January
2012 the choreographic concert gefaltet by Sasha Waltz and Mark Andre was presented as a world
premiere in the context of the festival Mozartweek by Stiftung Mozarteum in Salzburg, Austria. In May 2012
she was invited by the Berliner Philharmoniker to choreograph the dance project MusicTANZ - Carmen for
their Education programme, with over 100 pupils performing to Rodion Schtschedrin’s Carmen Suite. In
2013 among other projects, Sasha Waltz created a choreography on Strawinsky’s Le Sacre du Printemps,
a collaboration between Sasha Waltz & Guests and the Mariinsky Ballet, St. Petersburg. Sacre premiered
at the Mariinsky Theatre in St. Petersburg in May 2013 under the musical direction of Valery Gergiev. The
German premiere followed in October 2013 at Berlin’s Staatsoper under the musical direction of Daniel
Barenboim and performed by the dancers of Sasha Waltz & Guests. Together with Peter Weibel Sasha
Waltz curated the exhibition Sasha Waltz. Installationen. Objekte. Performances, in 2013 which presented
her work for the first time in the context of visual arts. Within four months the new exhibition format attracted about 60.000 visitors. In April 2014 Sasha Waltz continued her artistic collaboration with Barenboim by
staging Richard Wagner’s Tannhäuser, a production of the Staatsoper im Schiller Theater Berlin. In
September 2014 the new production of Sasha Waltz & Guests, Claudio Monteverdi’s Orfeo choreographed
by Sasha Waltz and musically directed by Pablo Heras-Casado, will premiere in Amsterdam – a collaboration with the Freiburger Barockorchester. Sasha Waltz was awarded the “Caroline-Neuber-Preis” as well as
the french cultural fraternity “Officier de l’Ordre des Arts et des Lettres” in 2010 and the Order of Merit of the
Federal Republic of Germany in 2011. Since June 2013, Sasha Waltz is also a member of the Academy of
Arts, Berlin. For its anniversary year 2013 the company has been named “European Cultural Ambassador”
by the European Union. Most recently Sasha Waltz & Guests was awarded the “george tabori ehrenpreis“
2014 by Fonds Darstellende Künste.
www.sashawaltz.com
The company SASHA WALTZ & GUESTS was founded by Sasha Waltz and Jochen Sandig in Berlin in
1993. To date, more than 250 artists and ensembles – architects, visual artists, choreographers, filmmakers, designers, musicians, singers and dancers – from 25 countries have collaborated as “Guests”.
In 2013 the company was named European Cultural Ambassador 2013 by the European Union, in
acknowledgement of its wide range of activities across Europe, reaching out to the rest of the world –
new productions with European partners, guest performances and workshops, such as educational and
transfer projects.
Dance, in particular, as an art form, transcends language barriers; even geographical frontiers are starting
to disappear. To date, Sasha Waltz & Guests have appeared in 103 European cities, for a total of nearly
250 guest performances – often with the support of a network of co-production partners, festivals, and
musical ensembles.
In Berlin, the company cooperates with a wide range of institutions such as municipal theatres, opera
houses and museums and has contributed to the establishing of innovative production sites for artistic
dialogue such as the Sophiensaele (1997) and Radialsystem V, Space for Arts & Ideas (2006).
The development of innovative forms of performance and creation in choreographic musical theatre has
become the most significant focus of the work of Sasha Waltz & Guests. Most recently Sasha Waltz &
Guests was awarded the 2014 George Tabori Ehrenpreis by the Fonds Darstellende Künste.
ALIX EYNAUDI (BE/AT)
Edelweiß. A danced rebus.
Première
WHAT DID YOU SEE? ― Edelweiß is a piece for those who find pleasure in reading.
It is a tribute to fetishism, a performance that treats all of its components as loved art pieces.
Edelweiß plays with intelligibility, a danced rebus where signs and references abound, a caring piece where
all the elements have been discussed and chosen and loved.
Edelweiß is inspired by Klimt and Émilie Flöge, by sport, by the aquariums of the 19th century, by babies,
by the 70’s, by the future and by the artist Fontana.
Edelweiß developed from the exploration of the art of camouflage and the technique of cushioning in artistic
collaboration between four performers, a costume and a light designer.
#rebus #camouflage #padding #withdrawal #sight-field
CONCEPT + CHOREOGRAPHY: Alix Eynaudi
PERFORMERS: Alice Chauchat, Alix Eynaudi, Mark Lorimer, Cécile Tonizzo
COSTUMES + SET DESIGN: An Breugelmans
LIGHT DESIGN: Bruno Pocheron
PRODUCTION BELGIUM: Hiros
PRODUCTION AUSTRIA: Sarah Blumenfeld for boîte de production – Verein für Zeitgenössischen Tanz
und zeitgenössische Installationen
CO-PRODUCTION: Kunstencentrum BUDA , Tanzquartier Wien
WITH SUPPORT BY: MA7 – Kulturabteilung der Stadt Wien, XING Bologna, l’Institut Français d’Autriche
THANKS TO: Our intern Naima Marilyn Mazic, Christian and Geneviève Eynaudi
BIOGRAPHY: ALIX EYNAUDI (BE/AT)
Alix Eynaudi lives and works in Vienna since 2 years. She was trained as a ballet dancer in the Opéra
of Paris. She worked in various ballet companies before entering PARTS when the school first opened. In
1996, Alix joined Anne-Teresa De Keersmaeker‘s company Rosas where she worked for 7 years, participating to the creation of 6 pieces : Just Before, Drumming, I said I, In real Time, Rain, April me, as well as to
the retake of repertory pieces such as Woud, Achterland and Fase.
Since 2005 Alix has been creating her own pieces: Crystalll, in collaboration with Alice Chauchat (2005),
Supernaturel (2007), The Visitants (2008) and Long Long Short Long Short (2009), both in collaboration
with Agata Maszkiewicz. In 2011, she led, together with Kris Verdonck, a research on the benefits of sleep
and rest, which turned into Exit (2011), a solo in which she puts the audience to sleep. In 2012, she makes
Monique, a dance duet with Mark Lorimer which finds its inspiration in bondage.
Besides creating her own work, Alix makes a point of continuing to develop projects with other artists, both
as a collaborator and a performer. She took part in projects as a performer with a.e.:
the collective Superamas, Kris Verdonck, Anne Juren and more recently Boris Charmatz in his new piece,
Manger.
Alix’s artistic practice also involves teaching workshops a.o.in PARTS, Brussels, ImPulsTanz, Vienna,
Reykjavik, Panetta Movement Centre, New York, Skolen for Moderne Dans / The Danish National School of
Contemporary Dance and SEAD, Salzburg.
69 positions
WED 28. OCT. + THU 29. OCT.
Excess, nudity, orgy eroticism, ritualistic pleasure, audience participation and political engagement, all
expressions of the sexual utopia particular to the counterculture and experimental performances of the
1960‘s. This guided tour through an archive of sexual performances, serves as a filter for Mette Ingvartsen
to explore unresolved issues about sexuality in contemporary practices today. In doing so, her body turns
into a field of physical experimentation and uncanny sexual practices emerge in relation to the environment
that surrounds her.
69 positions leads visitors through a space with performances, books, films, texts and images brought alive
through movement and speech in order to experience the connection between the intimate sphere and
public space. With this solo the Danish choreographer starts a new cycle of work entitled The Red Pieces,
where she places sexuality, the relation between the politics of the body and structures of society, in focus.
#sexualliberation #archive #performativeArts #solo #1960ies #empowerment
CONCEPT , CHOREOGRAPHY + PERFORMANCE: Mette Ingvartsen
LIGHT: Nadja Räikkä
SET: Virginie Mira
SOUND: Peter Lenaerts, with music by Will Guthrie (Breaking Bones)
DRAMATURGY: Bojana Cvejic
TECHNICAL DIRECTOR: Nadja Räikkä / Joachim Hupfer
SOUND TECHNICIAN: Adrien Gentizon
PRODUCTION MANAGEMENT: Kerstin Schroth
PRODUCTION: Mette Ingvartsen / Great Investment
CO-PRODUCTION: apap / szene (Salzburg), Musée de la Danse/Centre Chorégraphique National de
Rennes et de Bretagne, Kaaitheater (Brussels), PACT Zollverein (Essen), Les Spectacles vivants – Centre
Pompidou (Paris), Kunstencentrum BUDA (Kortrijk), BIT Teatergarasjen (Bergen).
SUPPORTED BY: Théatre National de Bretagne (Rennes), Festival d’Automne à Paris, DOCH - University
of dance and circus (Stockholm)
FUNDED BY: The Flemish Authorities & The Danish Arts Council and the support from the European
Commission
7 Pleasures
Seven notions of pleasure. Seven notions to be unfolded, experienced and imagined: Pleasures transforming bodies, contaminating matter and the environment. At the heart of Mette Ingvartsen‘s new creation,
pleasure becomes a perceptual as much as a political question: How to generate and transmit other forms
of pleasure than those choreographed by everyday life? How to explore pleasure‘s un-canniness, its points
of connection with the inside, the outside - its social and subjective ramifications? How to use its joyful potential to disrupt cliché images attached to nudity and sexuality?
A group of 12 performers work on sensations and their representation. As a melting together of states, in a
long sensual movement, explored through the skin, bodies touch, test and losetheir borders. They vibrate,
enter into contact and composition with the objects that surround them - forming unexpected constellations
of variable geometries. Little by little a sensation unfolds where every aspect of pleasure is handled, stirred
and returned in all its glory. Vibrational, viscous, tactile, visual, contractual, ecstatic or collective: seven
succeeding circles intertwine their questions to draw up a map of pleasure to be experienced as much
as deciphered.
#politicsOfTheBody #sexualPractics #Pleasure #cognitation
CONCEPT, CHOREOGRAPHY: Mette Ingvartsen
PERFORMER: Sirah Foighel Brutmann, Johanna Chemnitz, Katja Dreyer, Elias Girod, Bruno Freire, Dolores Hulan, Ligia Manuela Lewis, Danny Neyman, Norbert Pape, Pontus Pettersson, Hagar Tenenbaum,
Marie Ursin
REPLACEMENT: Ghyslaine Gau
LIGHT + SET: Minna Tiikkainen
SOUND: Peter Lenaerts
DRAMATURGY: Bojana Cvejic
ASSISTANT CHOREOGRAPHY: Manon Santkin
ASSISTANT LIGHT: Nadja Räikkä
TECHNICAL DIRECTOR: Joachim Hupfer
SOUND TECHNICIAN: Adrien Gentizon
PRODUCTION MANAGEMENT: Kerstin Schroth
ASSISTANT PRODUCTION: Manon Haase
A production of Mette Ingvartsen / Great Investment
CO-PRODUCTION: steirischer herbst festival (Graz), Kaaitheater (Brussels), HAU Hebbel am Ufer (Berlin),
Théatre National de Bretagne (Rennes), Festival d’Automne (Paris), Les Spectacles vivants – Centre Pompidou (Paris), PACT Zollverein (Essen), Dansens Hus (Oslo), Tanzquartier Wien (Vienna), Kunstencentrum
BUDA (Kortrijk), BIT Teatergarasjen (Bergen), Dansehallerne (Copenhagen).
FUNDED BY: The Flemish Authorities, Hauptstadtkulturfonds (Berlin) & The Danish Arts Council.
THANKS TO: Musée de la Danse/Centre Chorégraphique National de Rennes et de Bretagne.
A House on Fire co-production with the support of the Culture Programme of the European Union
RESEARCH AND RESIDENCY SUPPORTED BY: APAP; with the support of the Culture Programme of the
European Union
BIOGRAPHY: METTE INGVARTSEN (DK)
Mette Ingvartsen is a Danish choreographer and dancer. From 1999 she studied in Amsterdam and
Brussels where she in 2004 graduated from the performing arts school P.A.R.T.S. Her first performance
Manual Focus (2003) was made while she was still studying. Since then she has instigated several research projects and made numerous performances, among others 50/50 (2004), to come (2005), Why We
Love Action (2006), It’s in The Air (2008), GIANT CITY (2009) and All the way out there... (2011). Questions
of kinesthesia, perception, affect and sensation have been crucial to most of her work. Recently her interest
has turned towards thinking choreography as an extended practice. Starting with evaporated landscapes
in 2009, a performance for foam, fog, light and sound, this interest has led to a series of propositions that
extend choreography into non-human materials. In 2010 she worked on several site-specific propositions,
also dealing with notions of artificial nature. The Extra Sensorial Garden was presented in Copenhagen and
The Light Forest was open to be visited during Szene Salzburg in July 2010 and 2011. Her latest work The
Artificial Nature Project (2012) reintroduces the human performer into a network of connections between
human and non-human actors. This work concludes the series on artificial nature. In 2014 she started a
new cycle of work entitled The Red Pieces. 69 positions opens this series and questions the borders between private and public space, by literally placing the naked body in the middle of the theater public. In the
second piece, 7 Pleasures, a group of 12 performers will address notions of nudity, body politics and sexual
practice.
ww.metteingvartsen.net
DANYA HAMMOUD (DK)
Mahalli
Austrian Première
WED 4. NOV. + THU 5. NOV.
in TQW / Studios
The Arabic word ‘Mahalli’, which means both ‘local’ (as in ‘from here’) as well as ‘my place‘, is the latest
impressive piece of the young Lebanese choreographer Danya Hammoud.
This solo performance represents a figure, a female body as a moving mass taken into a dense space,
where the pelvis initiates each and every movement. Her relation to space is a relation to territory. She is
still, as she points out like all Lebanese people today, fighting. When this figure is confronted to order, by
instinct of survival, she wants to defend and preserve her private territory, which is above all her own body
but also her freedom of movement and her identity as a woman. With the power of a female animal and the
pride of a woman her body becomes the subject of survival and shifts to resistance.
Mahalli has performed in numerous dance festivals in Europe and Lebanon and will be shown at Tanzquartier Wien for the first time in Austria.
#empowerment #relocalisation #resistance
CHOREOGRAPHY: Danya Hammoud
SOUND: Cristian sotomayor et Danya Hammoud
LIGHT: Riccardo Clementi
COSTUME: Wafa Aoun.
ASSISTANT: Junaid Sarieddeen
CO-PRODUCTION: Zoukak (association culturelle et compagnie de théâtre), Beyrouth, Libanon. CNDC,
Centre National de Danse Contemporaine, direction Emmanuelle Hyunh, Angers, France. Cocoondance/
Teatre Im Balsaal, Bonn
BIOGRAPHY: DANYA HAMMOUD (DK)
Born in Beirut, Danya Hammoud received a B.A. in Theatre from the Institute of Fine Arts, at the Lebanese
University, Beirut 2003. She has participated as an actress and dancer with several Lebanese directors. In
2005 she attended CNDC, the Superior School of contemporary Dance, (directed by Emmanuelle Hyunh)
Angers-France, where she started developing short performances and performed in “My country music”, a
dance piece by the American choreographer Deborah Hay.
In 2010 she acquired a Masters degree in Dance Research and Studies from the Paris8 University, France,
on the subject of danced autobiographies, and their impact on the transformation of the contemporary
artist’s figure. She is currently following a four-year seminar (2011-2014) on choreographic and compositional processes, directed by Jonathan Burrows at Sadler’s Wells Theatre, London.
Her work includes: “Meen el battal?” (Who’s the hero?) a dance solo, produced by the Young Arab
Theatre Fund, presented during BIPOD Festival, Beirut 2007, and the “CRT- short formats” dance festival,
Milan, Italy, 2007. “F.A.Q.” a duo with Antonio Tagliarini, part of the “Sites of imagination” project, produced
by Carovana (Italy) and Alkantara (Portugal), presented in Spain, Italy, Portugal, Slovenia and France in
2007. She was invited to create a short performance in the frame of Miniatures project initiated by L’officina
(France), where she created “S’approcher” a dance solo, presented in Casablanca (Moroco), Marseille,
Aubagne, (France), Barcelona (Spain), Terni and Florence (Italy), and in Beirut between 2010 and 2013.
And “Mahalli”, a Dance solo, co-produced by CNDC (Angers, France) and Cocoondance (Germany) in
2011, presented in Germany 2011, in France at the Montpellier dance Festival (Montpellier) 2012, Dansem
Festival (Marseille) 2012, Festival Danses d’ailleurs (Caen) 2013, festival Rencontrers Choregraphiques de
Seine-Saint-Denis (Paris) 2013, June Events (Paris) 2013, and in London at the Shubbak festival 2013, and
in Beirut 2013. She is a co-founder of Zoukak Theatre Company and cultural association.
TAOUFIQ IZEDDIOU (MA/FR) + MERYEM JAZOULI (MA/FR) + ELISABETH B. TAMBWE (CG/FR)
Devine qui vient danser ce soir?
Austrian Première
FRI 6. NOV. + SAT 7. NOV.
Can you guess who’s dancing tonight? The research phases and encounters of Taoufiq Izeddiou throughout the last 10 years have sparked the idea and his desire to create a series of duets: “Here I arrived at
researching a different part of me, a certain regard and a counter-regard. It’s kind of a need, as well as a
necessity to share this space with ‘my’ others... A leitmotif: an encounter with remarkable personalities of
my actual life.“
MERYEM JAZOULI + TAOUFIQ IZEDDIOU
Duo#1
CHOREOGRAPHY AND INTERPRETATION: Meryem Jazouli, Taoufiq Izeddiou
DRAMATURG: Youness Anzane
LIGHT: Michel Bertrand
COPRODUCTION: Charleroi Danse, Moussem Kunsten Centrum Arts und Unterstützung von Espace
Darja, Casablanca
COORDINATION: Ad Hoq Platform
ELISABETH B. TAMBWE + TAOUFIQ IZEDDIOU
Duo#2
CHOREOGRAPHY AND INTERPRETATION: Elisabeth B. Tambwe, Taoufiq Izeddiou
MUSIC: Philipp Moosbrugger
COPRODUKTION: Tanzquartier Wien
THE LOOSE COLLECTIVE (AT)
The Music of Sound
THU 12. NOV. – SAT14. NOV
“The sky was so blue, the meadows were so green, and the flowers smelled sweet and the birds were
singing!”(Maria Rainer)
The times before and after great wars are marked by a heightened need to find a national identity – as
constructions both from inside and outside. In the search of a marketable image for nations and the people
who live within the state borders, nation branding agencies are tasked with creating the image of the nation,
defining identification parameters for their inhabitants and designing a national corporate identity to ensure
competitiveness on the international market.
For 50 years the American film The Sound of Music unintentionally contributed to the nation branding of
Austria. With numerous references to the Austrian and German Heimatfilm [homeland film] genre, the film
disseminates romantic ideas about the country, presents green alpine pastures, aristocratic architecture
and enchanting children who make music together under the guidance of a singing nun. As one of the most
successful films in cinema history, The Sound of Music – largely unknown in Austria – broadcasts a clichéd
image of the country to the world and thereby produces a recognisable characterisation of the nation and
its values.
Against this background, The Loose Collective builds a performative montage of Foley material, text
samples, choreographies, technicolour images, songs and souvenirs. In the treacherous gap between representation and perception, questions arise like: What is a nation? Why should we identify with particular
fictions of belonging? To what extent do we feel our packaged heritage to be motivating, embarrassing or
alienating?
#TheSoundOfMusic #Dance #Music #NationBranding #Technicolor #Identification
CONCEPT, MUSIC AND PERFORMANCE: Guenther Berger, Alex Deutinger, Alexander Gottfarb, Hanna
Hollmann, Thomas Kasebacher, Anna Maria Nowak, Marta Navaridas, Stephan Sperlich, Teresa Vittucci
LIGHTING: Roman Streuselberger
SOUND: Stefan Ehgartner
COSTUMES: Hanna Hollmann
CO-PRODUCTION: steirischer herbst, tanzquartier Wien, Kunstverein Archipelago, Performanceinitiative
22
With the support of D.ID. dance-identity Burgenland, La Briqueterie CDC du Val-de-Marne, the Austrian
Federal Chancellery, MA 7 – Cultural Department of the City of Vienna, City of Graz Kultur, Kultur Land
Steiermark
THE LOOSE COLLECTIVE is an Austrian group of internationally active performers, musicians, visual
artists and choreographers. The collective was founded with the aim of developing dance and music performances in a non-hierarchical structure. Their work is a continuing research into the effects of democratic
decision-making within artistic processes.
BERNHARD LANG (AT) + PHACE (AT) + SILKE GRABINGER / SILK Cie (AT)
Monadologie XVIII »Moving Architecture«
Première of the new Vienna Version 2015
In Cooperation with WIEN MODERN
WED 18. NOV, 20.30 h +
THU 19. NOV, 22.00 h
in TQW / Halle G
Conceptually, Monadologie XVIII is based on the proportional application of the page-view plans of the
ACF (Austrian Cultural Forum) in New York City by Raimund Abraham. The temporal dissolution of the
architecture introduces the parameter of movement into the concept, initially conceived as the movement of
sound. A close interweaving of choreographic movement and music results from the cooperation between
Bernhard Lang and Silke Grabinger: they are not related in a hierarchical sequence and consequence but
intermesh and interact. The performance is constructed both in the details of gesture, in their emotional
expression as well as between these small gestures and apparently random movements.
Lang’s use of repetitive patterns, which are immanent movement and create rhythms and convey pulsations, as well as their production by the musicians, leads to an involuntary inner movement logic. This has
been taken up by Grabinger and extended to a new layer of Moving Architecture, although the movement
scored in the composition only becomes completely visible in the live performance.
The compositions of the Monadologie series largely reference existing pieces of music – in this case the
focus is on Bob Dylan’s Like a Rolling Stone, and fragments of it constantly recur like a red thread. It is the
poetry of homelessness, of emigration, that connects Dylan’s text with those by Rose Ausländer, who as an
émigré was close to the ACF in in the post-war years.
As a constant theme of the composition, emigration thus faces the closed character of the architectural
space, enters into dialogue with it through the concept of movement, and attempts to open it up outwards
and inwards:
Four walls, a ceiling and a floor
Is it a room ? Is it a cell?
If not for window and for door
It might seem a part of hell
(Rose Ausländer)
#Music #MovementLogic #PulsingStructure #OutsideInside #LikeARollingStone #WienModern
COMPOSITION: Bernhard Lang
CHOREOGRAPHY / STAGING / MOVEMENT NOTATION: Silke Grabinger
DIRECTOR: Joseph Trafton
VOICE: Daisy Press
PERFORMERS: Barbara Vuzem, Matej Kubus
ENSEMBLE: PHACE
LIGHT: Peter Thalhamer
SOUNDDIRECTION: Alfred Reiter
PRODUCTION PHACE: Markus Bruckner
PRODUCTION SILK Cie: Olga Swietlicka
GENERAL MANAGEMENT: Reinhard Fuchs
A production by Phace, co-produced with the Tanzquartier Wien and Wien Modern, in cooperation with Silk
Cie. and with the support of the City of Vienna Cultural Department
BIOGRAPHIES
Silke Grabinger started studying graphic art and design and has a BA in space and design strategies. Her
multimedia art works are exhibited in the United States, Canada and Europe and have been awarded several prizes. One of her long-term performance projects is called Versuchsperson [Experimental Subject].
She has volunteered to be an experimental subject for ten minutes each for different international choreographers such as Anne Juren, Benoit Lachambre, Astrid Endruweit & Michael Laub, Trajal Harrell, Philippe
from Superamas, the comedian Dirk Stermann and the film-maker Arash T. Riahi (Golden Girls productions). Her current work includes several group performances together with her Companies Silk Cie & Silk
Fluegge.
www.silk.at
The work of Austrian composer, improvisationalist and programmer of musical patches and applications
Bernhard Lang can be described as modern contemporary music, with roots in various genres. His works
are performed on all relevant festivals of modern music and range from solo pieces and chamber music to
large ensemble pieces and works for orchestra and musical theater. Besides music for concert halls, he
designs sound and music for theater, dance, film and sound installations.
http://members.chello.at/bernhard.lang
Alongside the focus on classical contemporary chamber music, the artistic spectrum of the Austrian ensemble PHACE, active in the contemporary music scene for many years, includes music-theatre productions
and interdisciplinary projects with dance, theatre, performance, electronics, videos, DJs, turntablists, installations and much more.
Since 2010 Phace has been concerned with music-theatre productions which blur the boundaries between
contemporary music, performance, electronics, sound and video (installations). The active core of the ensemble is regularly extended with musicians and guests from the most varied arts disciplines.
www.phace.at
PHACE
Doris Nicoletti, Flöte
Reinhold Brunner, Klarinette
Peter Putzer, Horn
Peter Travnik, Trompete
Mathilde Hoursiangou, Synthesizer
Berndt Thurner, Percussion
Ivana Pristasova, Violine
N.N., Viola
Luis Zorita, Cello
Alexandra Dienz, Kontrabass
NOÉ SOULIER (FR)
Removing
Austrian Première
FRI 4. DEZ + SAT 5. DEZ
The observation of other people’s movements can create proprioceptive and kinesthetic experiences. I
would like to explore this aspect of movement perception by working with movements defined by practical
goals: to hit, to avoid, to reach, to grab, etc. Unlike movements defined according to geometrical or mechanical principles, they constitute a vocabulary of gestures that is shared with the audience. One rarely think
of creating a line with one’s leg or of dropping the weight of one’s arm, whereas most of our daily movements are motivated by practical goal: to reach a location, to seize an object, to avoid a piece of furniture,
etc. Using a common vocabulary enhances physical empathy and kinesthetic resonance.
If one simply executes these actions motivated by a practical goal as in the tasks of postmodern dance, the
experience of the movement tends to disappear behind the recognition of the goal. To focus the attention
on the movement itself, we will suppress the hints that allow the immediate recognition of the goal. We will
neither literally execute the full action nor mime it. One of the sequences is a series of hits. Only the beginning of each hit is performed. The dancer interrupts himself before the movement is fully accomplished
by starting the next movement. Thus he retains the definition of the movement by a practical goal while
suppressing what allows the identification of this goal for the observer. This makes it possible to capture
complex motor characteristics linked to the action of hitting: dynamics, impact, speed, muscle tone, physical
investment, affect, etc. while orienting the attention on the movement itself and not on the accomplishment
of the goal.
The interruption of the dancer by himself creates a gap between his intention and the action he performs.
His intention is excessive compared to the movement that is actually performed, and this excess transforms
the movement. It makes visible the way the dancer anticipates the goal he gives himself. We will explore
this gap by working on sequences of movements composed only of preparations for other movements: the
run-up before a jump, a change of direction or a rotation. In this sequence, the dancer is continuously aiming at movements that are never performed. This constant ellipsis makes apparent his intention by affecting the way his actual movements are performed.
We will also work with actions aimed at someone else’s body using tools from Brazilian JiuJitsu. It is a
martial art which concentrates mostly on floor fighting and on locks used to control an opponent by taking
one of his joint to the limits of its movement range. Locks and techniques used to escape being locked exist
for almost all the joints in the body. Thus Brazilian JiuJitsu constitutes an extremely thorough exploration of
the body as an articulated structure. Each fighter apprehends the body of his opponent as a set of opportunities and threats. It is often difficult to understand what the fighters are trying to achieve if one does not
know this martial art. In these situations, the movements do not appear as a fight but as an extremely precise action on someone else’s body whose goal remains unidentified or at times as a sensual embrace. I
would like to create movement sequences using the repertory of positions and locks from Brazilian JiuJitsu,
but contrary to the fighting situations of this martial art, the two dancers will collaborate in the execution of
the sequence. The actions are mostly to grab, to push, to draw, to wring, to hold, to block, etc. Both dancers
are constraining each other and it is this constraint that generates the movement. This duo would be the
opposite of Contact Improvisation where the movement is generated by sharing weight and by following
the directions taken by the ensemble formed by the bodies in contact. To grab and to constraint the other is
precisely what one should avoid when doing Contact Improvisation. In this research, it will be the motor of
the action.
The composition will use different levels of unison, different ways for movement sequences to have common parameters: same geometrical structure in space, same type of action, same body part, etc. The
resemblances can be extremely strong or barely perceptible. They will allow the creation of different types
of counterpoint (duo + solo, duo + solo + solo, duo + duo, etc.). I will try to play with different levels of visual
density either with sudden contrasts or progressive evolution. The idea of visual density (the amount and
the heterogeneity of visual information displayed) comes from the idea of sound density explored by the
composer IannisXenakis. I think it offers a framework that is open enough to compose these complex movement materials.
#DanceForTheSakeOfDance #PresentAbsence #PureMovement #MinimalisticClearity
BIOGRAPHY
Noé Soulier studied at the Paris Conservatoire, the National Ballet School of Canada, and at PARTS –
Brussels. He received a master degree in philosophy at La Sorbonne University (Paris IV). Noé Soulier
explores the ways we perceive and interpret gestures through diverse projects: choreographies, installations, theoretical essays and performances. In Movement on Movement (2013) and Signe blanc (2012), he
introduces a gap between the discourse and the gestures that come with it in order to question how they
collaborate in the elaboration of meaning. In Little Perceptions (first prize of the DanseÉlargie competition,
organized by Le Théâtre de la Ville in Paris and Le Musée de la Danse) and Corps de ballet (2014), the
tension is located between the intention and the movement of the dancer, thus making apparent the way
the performer engages himself in the action. These gaps and internal tensions aim to explore the complex
relationships between intention, action, and the articulation of meaning by the body and speech. From
September 2014, Noé Soulier is an associatedartist to CND, un centre d’art pour la danse.
TANZ COMPANY GERVASI (IT/AT)
What kind of animal is?
Première
SUN 13. DEC, 15.00 h
in TQW / Halle G
The boundaries between installation, performance, conceptual art, dance and ‘non-dance’ and the state of
the art (and mind) are fleeting and continually crossed and confused in this new production. Starting from
existing habits and the way we look at things (and at each other), Gervasi reminds us that we are almost
cut off from our sensorium and mainly trust the use of our eyes (mere peep-holes) to decipher reality.
Oscillating between Duchamps ready-mades and his étant donnés questions arise: What do humans and
animals have in common? …play, sexual life, parenthood? Aristotle asserted: the human as a social animal.
Is this still actual?
#ReadyMade #Blickregime #Transmedia #Social Animal
ARTISTIC DIRECTION, CHOREOGRAPHY: Elio Gervasi CHOREOGRAPHY ASSISTANT:: Nicoletta Cabassi DANCE, CHOREOGRAPHY: Yukie Koji, Hannah Timbrell
COSTUME: Maiko Sakurai Karner LIGHT DESIGN: Markus Schwarz
BIOGRAPHY
Elio Gervasi, born in Italy, studied classical ballett at Nazionale di Danza Classica in Rome. He recived an
education in modern and contempoary dance at Peter Goss and was dancing for Bob Curtis‘ Compagnia
Afro Danza. In 1987 Elio Gervasi founded the dance company Gervasi in Vienna. In the last 25 years
Gervasi received numerous choreographic awards from the Arts Department of the Federal Ministry of Culture, including the Austrian Dance Award. Gervasi was a guest choreographer with a.o. P. L. Dance Company, Bühnenwerkstatt-Company Graz, the Saarland State Opera Ballet as part of the „Off-Ballet“ series
and for the Ballet School of the Vienna State Opera. He has participated in numerous international dance
festivals.
THEORY
LECTURE SERIES
FRI 23. OCT.
Admission free
“The pleasure of the text, it is that moment when my body follows its own ideas – for my body does not
have the same ideas I do.” (Roland Barthes)
“The pleasure of the text is that moment when my body follows its own ideas – for my body does not have
the same ideas I do.” (Roland Barthes) The placeless pleasure of the text, which once again differentiates
the body from the ego, also moves the tongue of contemporary dance, which also takes pleasure in minimalistic stories, scores, scenarios, statements etc. But how does the pleasure of the text also become,
according to Barthes, a “critical principle” of a performative aesthetics of contemporary dance?
In the mutual recontextualisation of gestures and words within their erotic tension with the other – with
hands and sentences simultaneously stretching to him and away from him – language and movement do
not imitate one another. The liaisons dangereuses between dance and text, which the new lecture series
explores, are not analogous; they are rather asymmetrical, beyond any appropriating, functionalising exchange principle – pleasure of the text like pleasure of the body are critical because they are without function.
Thus this time asymmetrical trios will appear in the season series in a discursive ménage à trois.
GABRIELE BRANDSTETTER (DE) / ANNE JUREN (FR/AT) / GERD NEUMANN (DE)
FRI 23. OCT.
Admission free
GERHARD NEUMANN
Eroticism and knowledge – Writing scenes in Roland Barthes
The micro-lecture concentrates on the eroticism delivered by the knowledge generated between body and
script – as ‘life text’ (Barthes). It is Eros that drives us, that makes us acquainted with the world and with
ourselves, the biggest mystery. It is the pleasure of ‘knowing’ in the double meaning of Eros and philosophy.
ANNE JUREN
The point of pleasure
The lecture enters the limbic system of the (reclining) audience, which navigates between concrete physical sensations and the pleasure of the text: An attempt to find poetry within the analytical terminology and
theory within the pleasurable sensation – at the moment when the intellect leaves the mind, the skeleton
the body, the sensation its cultural references.
GABRIELE BRANDSTETTER
Der gewisse Körper. Suspensionen der Lust
The heart of this discursive moment is formed by the sensual qualities of the pleasure of the text as body
pleasure: Those passages Barthes mentions – the sticky reading of voluptuousness; the losing-oneself in
interstices; the cohabitations of language and movement; and the smacking between voice and text.
THE PLEASURE OF THE TEXT.
A Discursive Ménage-à-trois
CLAUDIA BOSSE (AT) / ANDREAS SPIEGL (AT) / PAUL WENNINGER (AT)
Choreography of thinking
Three discursive moments, intertwining and evolving to an open discussion
FRI 4. DEC.
Admission free
CLAUDIA BOSSE
Sprechen als Denken im Moment, das den Körper affiziert. Oder das Sprechen während einer anders gearteten Bewegung, als ein Aufeinandertreffen von verschiedenen Intentionen in einem Körper. Es erzeugt
ein bewusstes Unbewusstes, Intensivierung und Entzug. Oder das Sprechen von Text als momentanes
Aktivieren von geschriebenen Gedanken (anderer oder meiner selbst), als Dokument von geformten Gedanken, die, erstmals oder abermals auf mein Denken und meinen Körper als Sprecher treffen, ihn benötigen, ihn durchlaufen, um Sprache als adressierte Äußerung überhaupt erst zu werden. Choreografien des
Denkens.
Claudia Bosse ist Künstlerin, Choreographin. Sie studierte Schauspielregie an der Hochschule für Schauspielkunst Ernst Busch Berlin und ist Mitbegründerin und künstlerische Leiterin der transdisziplinären
Companie theatercombinat. Ihre raumspezifischen Arbeiten untersuchen die Grenzen von Installation,
Choreographie, Theater und städtischer Intervention. Rechercheprojekte, Lectures, Publikationen, sowie
Kollaborationen mit Künstler_innen und Theoretiker_Innen unterschiedlicher Felder.
PAUL WENNINGER
Der Prozess wie Text zur Sprache wird und Sprache zur Choreografie: Der Prozess des Einverleibens, das
Tragen von Text im Körper, das Erzeugen von Sprache als erinnerten Text wird zur Choreografie.
Paul Wenninger ist freischaffender Tänzer und Autor choreografischer Werke sowie Filmemacher mit Fokus
auf Pixilation und Animation. Seit 1999 ist er künstlerischer Leiter des Kabinett ad Co., einer Arbeitsplattform für Künstler_nnen verschiedenster Kunstrichtungen, um interdisziplinäre Projekte mit Fokus auf den
Körper zu realisieren.
ANDREAS SPIEGL
Die Lust am Text äußert sich vielleicht auch im Lesen, in der Geste einer Lektüre, die das Denken enteignet, beraubt des Eigenen, das sich gehen lässt, sich fallen lässt, im Namen des Anderen, der in den
Eigennamen dringt, um ihn zu entäußern, über die Aussage hinaus auszusprechen, was niemandem mehr
gehört, das Unerhörte der Stimme, die Wort für Wort verschwindet, sich entzündet, anzuheizen die Larven
des Geschriebenen, die auf den Lippen liegen, im Mund liegen, in den Mund gelegt werden, um unbedacht
schon aussprechen zu können, was nicht denkbar war…
Andreas Spiegl ist Senior Scientist am Institut für Kunst- und Kulturwissenschaften an der Akademie der
bildenden Künste Wien.
SCORES #10 // Philosophy On Stage #4
Artist Philosophers – Nietzsche et cetera
THU 26. NOV. – SUN 29. NOV.
in TQW / Halle G + TQW / Studios
a cooperation of PEEK-Projekt* „Artist Philosophers.
Philosophy AS Arts-Based-Research“ and Tanzquartier Wien
From 26th-29th November 2015 in Halle G and the Studios of Tanzquartier Wien, the PEEK-Project* “Artist
Philosophers. Philosophy AS Arts-Based-Research” and Tanzquartier Wien are joining forces to investigate
emerging interdisciplinary connections between philosophy and the arts.
Over the course of four days, more than 60 philosophers and artists will come together to explore whether
the arts in connection with philosophy can constitute a laboratory for the future.
Nietzsche envisioned a fusion of the resistant forces of both disciplines as a “foreplay of a philosophy of the
future” which was to bring about a new, active concept of thinking: an active thinking of the untimely, that is,
“acting in a non-present fashion, therefore against time and even on time, in favour (...) of a time to come”.
(Deleuze: Nietzsche and Philosophy) Well, bring it on!
THU 26. NOV 2015
in TQW / Halle G
18:00 Festival-Opening // Sounds: Wolfgang Mitterer / Franz Hautzinger
18:30 Lecture: Dieter Mersch: „Nietzsches Dionysos“ / Nikolaus Gansterer: „Nietzsche Diagrams“
19:15 Mersch Speakers’ Corner [Discussion]
19:45 Break
20:30 Intervention: DANS.KIAS / Saskia Hölbling: „bodies (with)in fences“ [Tanz: Saskia Hölbling / Rotraud Kern / Franco Senica, Raum: Gudrun Lank-Wane, Laurent Goldring, Musik: Nik Hummer]
20:45 Lecture-Performance: Arno Böhler / Susanne Valerie Granzer / Hans Hoffer „Nietzsche et cetera. Kant in Analyse“
21:30 Lecture-Performance: Sandra Noeth / Kamal Aljafari: „Disquieting Movements: „Über die Unruhe der Körper und der Bilder“
22.15 Intervention: Rainer Totzke / Simone Weißenfels: „1000 Nietzsche – Eine Performance(-Skizze) für alle und keinen“
23:00 End
FRI 27. NOV 2015
In TQW / Studios // Morgenlektüren / Early Readings
11:30 Sublin/mes. Philosophieren von unten: „Nietzsche –, wie?“
13:00 Discussion
13:30 Lunch-Buffet
in TQW / Halle G // Interventions / Sounds / Open Forum
15:00 Intervention: Bernadette Anzengruber: „insideout“
15:15 Intervention: Graham Parkes / Helen Parkes: „Being Here. There’s no App for That“
16:00 Intervention: Daniel Aschwanden / Conny Zenk / Matthias Hurtl: „Rettung des Zufalls“
16:30 Sounds: Wolfgang Mitterer / Franz Hautzinger
16:45 Open Forum [Speaker’s Corner]
in TQW / Halle G / Ziegel-Foyer
18:00 Coffee Break
in TQW / Halle G // Arts-Based-Philosophy
18:45 Intervention: Barbara Kraus: „Out there is a field“
19:15 Lecture: Jens Badura: „verwickeltes denken“
19:45 Badura Speakers’ Corner [Discussion]
in TQW / Halle G / Ziegelfoyer
20:00 Break
in TQW / Halle G // Nietzsche et cetera
20:45 Instant Composing: Karlheinz Essl / Agnes Heginger: „,oh Nacht, oh Schweigen, oh todtenstiller Lärm!‘ Eine performative Versuchsanordnung mit Nietzsche und Wagner“
21:30 Club der toten Philosoph_innen: Butler, Kant, Nietzsche, Spinoza [Moderation: Richard Heinrich]
23:00 End / Halle G
in TQW / Studios // Nachtlektüren / Night Readings / Festival Exhibition
Various artists and philosophers to be announced
01:00 End
SAT 28. NOV 2015
In TQW / Studios // Morgenlektüren / Early Readings
11:30 Sublin/mes. Philosophieren von unten: „Nietzsche –, wie?“ and Lecture: Tanja Traxler: “Nietzsche und Physik”
13:00 Discussion
13:30 Lunch-Buffet
in TQW / Halle G // Interventions / Sounds / Open Forum
15:00 „Der Thäter’ ist zum Thun bloß hinzugedichtet“ A Playful and Interactive „Performance Philosophy“ intervention onsubjectivity, intentional action and meaning in a Post-Nietzschean universe“
15:00 Part I: Alice Lagaay: „From ‚Negative Performance‘ to the Concept of Performing ‚Creative
Indifference‘“
15:45 Part II: Theater der Versammlung, Jörg Holkenbrink: „Performing Creative Indifference“
16:30 Sounds: Wolfgang Mitterer / Franz Hautzinger
16:45 Open Forum [Speaker’s Corner]
18:00 Coffee Break
in TQW / Halle G // Arts-Based-Philosophy
18:30 Intervention: Anna Mendelssohn: „Nietzsche und Ich. Und Du und das Pferd und die Gruppe.“
19:00 Lecture: Martin Puchner: „Socrates on Stage“
19:45 Puchner Speakers’ Corner [Discussion]
20:00 Break
in TQW / Halle G // Nietzsche et cetera
20:30 Lecture-Performance: Paulo de Assis / Michael Schwab / Collective ME21: „Nietzsche6: The Weight of Music“
21:30 Lecture-Performance: Corinna Kirchhoff / Wolfgang Michael: „Ecce Homo“
22:00 Hester Reeve / Wolfgang Mitterer / Franz Hautzinger i.a.: „Of Sound in the Landing Page“
22:20 Lecture-Performance: Milli Bitterli: „Friedrich Bitterli“
23:00 End Halle G
in TQW / Studios // Nachtlektüren / Night Readings / Festival Exhibition
Various artists and philosophers to be announced
01:00 End
SUNDAY MATINÉE, 29. NOV 2015
In TQW / Halle G // Nietzsche Space
11:30 Performance: Peter Stamer / Frank Willens: „Über Wahrheit und Lüge im außermoralischen Sinne“
in MQ Courtyard // Audience-Corpus
12:30 Erin Manning / Brian Massumi / Martin Wuttke / Audience: „Twisted Nietzsche“ in Co-operation with SenseLab
13:30 End
Additional Festival-Events, THU 26 NOV. - SUN 29 NOV. 2015
Walking Performance: Laura Cull / Tess Denman-Cleaver: „The Sea, Lies open“, in TQW / Studios, Halle G, Foyer & Museumsquartier Area
Writing Performance: Manora Auersperg: „Nachahmungsbewegungen_F.N. erschreiben“
in TQW / Halle G
Permanent Installation: Erin Manning / Brian Massumi: „Twisted Nietzsche“, in TQW / Studios
Installation and Performance: Philosophy Unbound: “No Pain No Gain. Fit und Unfit im außermoralen
Sinne”, in TQW / Studios
and others
--Overall Space and Light Concept: Hans Hoffer
* Programme is still subject to change
**The PEEK-Project “Artist Philosophers. Philosophy as Arts-Based Research” [AR 275-G21] is sponsored by the Austrian Science Funds [FWF] and situated at the University of Applied Arts Vienna. Principle
Investigator: Arno Böhler, University for Applied Arts Vienna in co-operation with Tanzquartier Wien.
Additional co-operation partners: Jens Badura, Laura Cull, Susanne Valerie Granzer, Walter Heun, Alice
Lagaay, Elisabeth Schäfer.
Lecture Series in the context of SCORES #10 // Philosophy On Stage #4
Artist Philosophers – Nietzsche et cetera (Direction: Arno Böhler & Krassimira Kruschkova)
Co-operation partners: Institute for Philosophy and institute for Theatre, Film and Media Studies / University Vienna, University of Applied Arts Vienna.
TRAINING & WORKSHOP SEPT. 2015 – JAN. 2016
MORNING CLASSES
KATRIN ROSCHANGAR (DE/AT)
Vinyasa Yoga
From 14.9.
Every MON 9.30 – 10.30
Through her regular training practice in recent years Katrin Roschangar has developed her own vinyasa
style. The lessons consist of well thought through and developed sequences that are carried out synchronously with breathing. The asanas are largely based on the ashtanga method, but the training is also
influenced by other styles. The units have alternating emphases, such as bending forwards and backwards,
rotations of the spine, opening in the shoulder and hip joints, lateral stabilisation etc. As a result a varied
training develops that offers practitioners many opportunities for further development. Through Katrin Roschangar’s training as a KMI structural bodyworker it is one of her particular concerns to lead yoga practitioners to physically well-oriented position and movement that corresponds to their own individual anatomy
and movement. Through verbal correction and targeted contact the practitioner achieves more softness,
orientation, grounding, inner space, connection, lightness and stability. The aim is to expand inner perception, extend physical possibilities and to recognise and treat one’s own limits with respect; an integrated
body with a free-flowing breathing!
BETTINA SCHAEFER (AT)
Ballet for contemporary dancers
From 15.9.
Every TUE 9.15 – 10.30
Ballet with Bettina Schaefer begins with a logical and steady progression through barre, stresses basic
placement and alignment and offers the dancers an explorative approach to classical ballet technique. In
the centre dancers are encouraged to express their individuality, musicality and fluidity to use the space
while dancing and learning more complex combination. The emphasis lays on energy efficiency, developing
strength, dynamics and flow. And the joy of dancing!
SASCHA KRAUSNEKER (AT)
Feldenkrais
16.9. – 11.11.
Every WED 9.30 – 10.30
In this morning class we will explore the Feldenkrais Method and gradually find out how to usefully apply it
to our profession as dancers. Movability and flexibility are important qualities of a dancer. With the Feldenkrais Method we can learn to move with ease and to enlarge our comfortable movement range. We come
more in contact with our self. The possible themes of Feldenkrais-lessons cover a wide range of human
movement: from infant development to high-level performance abilities. The Method is a unique and revolutionary approach to the understanding of human learning, movement and function. Its focus is on the
practical development of one’s own individual potential and ability. People learn to improve the way they
organize themselves for action. Effects of Feldenkrais lessons can be: Improved balance, easier breathing,
a better coordination, more efficient movement, more differentiated movement, improved posture (placement, alignment), freedom from pain, increased movement range, increased self perception, more presence, more stability, more power, better contact to the floor, among many others. More Info at: http://www.
feldenkraisinstitut.at/
INDIRA NUNEZ (VE/AT)
Vinyasa Yoga
From 17.9.
Every THUR 9.30 – 10.30
This Yoga class is a dynamic and functional connection between different Asanas and elements of Ashtanga Yoga. The main focus is to find awareness not only in our breathing but also in our self day by day. This
Yoga Flow class is an open space for developing sensitivity and strength at the same time. Being able to
respect our own limits by listening to our body in our Asana work and exercises for our core muscles, our
spine, between others.
SASKIA TINDLE (UK/AT)
Ballet for contemporary dancers
From 18.9.
Every FRI 9.15 – 10.30
In the class Ballet for Contemporary Dancers Saskia Tindle aims to communicate the clear basic movements of classical ballet as tools. Functional tools, that in their clarity can lead to an improved quality of
movement and a greater force of expression and a commanding stage presence. We will investigate the
intention behind the steps and how the dancer can take “ownership” of the movement. Furthermore, Saskia
aims to encourage a respect and understanding regarding the dancer`s personal, individual physique and
to motivate the dancer to discover how the classical technique can be aligned to accommodate the individual.
CONTEMPORARY TRAINING
MARTIN SONDERKAMP (DE)
14.9. – 26.9.
MON – SAT 10.45 – 12.30
This dynamic, energetic training facilitates a playful investigation of the interrelation between thought,
perception and physical articulation. It is based on Martin Sonderkamp’s study and practice of improvisation, hands-on work, contact improvisation and somatic practices (Release, yoga, Alexander, BMC, Klein,
Bartenieff). The class aims at gaining a deeper sensual perception of the dancer’s body in motion and
moves between stillness, slow and rapid flow of motion. Somatic practices are the means through which we
investigate our response to alignment concepts, thinking, imagery, breathing and intentional touch (partner work). Analysing our responses during these exercises, we will move through improvised tasks and
pre-defined movement sequences that are designed to eventually increase stamina, strength, articulation,
economy of movement and clarity of intention. Fine-tuning will be attempted and one’s kinetic awareness,
mental attention and spatial presence will be specified while moving alone and with others.
RAUL MAIA (PT/AT)
28.9. – 10.10.
MON – SAT 10.45 – 12.30
These morning sessions propose the idea of learning through performing. They will be less about exercising predefined movements, and more about developing our ability of physical embodiment through performance practice. We will be performing durational scores where we will work on creating and keeping
bounds of dependency with each other in the room. The aim is to develop a collective experience of real
time physical communication between performers. Technique is seen as a consequence of the need to
communicate in a performative environment. We do not exercise for something that will happen latter; the
aim is to make something happen now.
JUAN KRUZ DIAZ DE GARAIO ESNAOLA (ES/DE)
MON – FRI 12.10. – 16.10.
MON – WED 19.10. – 21.10.
10.45 – 12.30
The class focuses on technique: the elements of bodyweight, release, momentum and speed are approached through exercises that propose a very close relationship to the floor, as well as an understanding of
the body’s anatomy and of the physical forces that create, influence and manipulate the body’s motion. The
class is structured in exercises that develop in technical difficulty: body coordination, spatial awareness.
The end of the class applies the elements previously worked on to relate the dancer‘s body to other bodies:
partnering.
NICI RUTRECHT (AT)
22.10. – 31.10. (no training on MON 26.10.)
MON – SAT 10.45 – 12.30
The class starts with creating consciousness by sensing, sensitizing and increasing awareness. Mini Feldenkrais lessons are leading to internal and external movements as well as to individual, not on an intellectual level, “movement tracts” which are opening spaces for “me-time”. In the second part of the unit, we experience our system in various phrases/ exercises/ games/ choreographies/ instant compositions from the
extensive repertoire of contemporary dance, and try to explore and expand the threshold each day anew.
Music and sound are an important element of the class and accompany us through the lesson in various
forms. The emphasis is on the pleasure and freedom of movement.
WORKSHOPS
MARTIN SONDERKAMP (DE)
Movement Research: Body Maps
22.9. – 24.9.
TUE – THUR 13.00 – 16.00
In this workshop we explore with the help of sculptural and dance-related methods which individual responses bodywork produces and thus which spots and regions loom in our bodies. We investigate how and
where these reactions become manifested and how we can note and concretise that in order to re-think
and re-model the terrain of our bodies. Furthermore the workshop aims at to examine how a physical inside
can unfold in a spatial outside, how it can be materialised and which spaces of action can be created in
reference to our body.
JUAN KRUZ DIAZ DE GARAIO ESNAOLA
The body as an instrument
19.10. – 21.10.
MON – WED 13.30 – 16.30
(ES/DE)
The workshop will have an insight into two solos from Sasha Waltz: Körper and Matsukaze. In these pieces
the body is approached from a similar starting premise but dealt with different perspectives and purposes
to create two choreographic compositions each with their own, clear and defined identity. We will further
explore themes and choreographic tools present in the development of Körper.
SHARING THE DANCE
MARIA PROBST / CHRISTIAN APSCHNER
Sharing the Dance: Anew – dance improvisation with musical changes in style
SAT 3.10.
15.00 – 18.30
Selected sounds with changes in style, compiled by the musician Bernhard Weiss, are our dominant partners in a network of relation, movement and meeting which we develop alongside scores. It unfolds a network that fertilises, blocks, assures, dissolves, establishes a new spectrum and brings up Anew.
Anew also in the sense of an inspired continuation of the diverse format Sharing the Dance in altered cast.
Thanks a lot to Kerstin Kussmaul for the last years with her initiative, resilience and creative mind!
MASTERCLASS
LUC DUNBERRY (CAN/DE)
Sasha Waltz’ Körper
17.10.
SAT 10.45 – 12.45
We will approach different themes of the piece Körper from a practical point of view and explore some
ideas that were used by Sasha Waltz to generate the choreographic material.
The participants will have an insight into the construction of the work but also an own creative input, as the
method uses mostly improvisation as a starting point.
SCHOLARSHIP 2015/16
After a successful audition on June 6 two training scholarships were awarded for the 2015/16 season. We
warmly congratulate Elda Gallo, a graduate of the Salzburg Experimental Academy of Dance (SEAD), and
Katharina Senk, who studied at the Vienna Conservatory. Both can attend the Tanzquartier Wien training
and workshops free of charge in the next season and receive concessions on tickets for performances. In
addition the media library and the unoccupied time in the studios are freely available to them.
The audition consisted of a dance technique and an improvisation-based part as well as the performance
of one’s own solo. This year’s jury was made up of the dancer Adriana Cubides, the Palestinian choreographer Farah Saleh, the Vienna-based director Yosi Wanunu and Katrin Roschangar from the Tanzquartier
Wien. The scholarship is intended to help prospective dancers in the often difficult transition between study
and career and to support them on their way into the dance scene.
We congratulate Elda and Katharina on the scholarship and wish them an active and inspiring time at the
Tanzquartier Wien!
ONLINE MEDIATHEK
Nach fünfjähriger Digitalisierung und Katalogisierung sämtlicher Aufzeichnungen am Tanzquartier Wien seit
seiner Gründung – unterstützt von Studenten der Theater-, Film- und Medienwissenschaft
(Universität Wien) und dem Institut für Creative Media Technologies der Fachhochschule St. Pölten –
macht das Tanzquartier Wien ein 14-jähriges singuläres kulturelles Erbe der Öffentlichkeit zugänglich:
die ONLINE-MEDIATHEK - www.mediathek.tqw.at.
Mit der ONLINE-MEDIATHEK möchte das Haus dem interessierten (Fach-) Publikum eine einzigartige
Möglichkeit bieten, die Entwicklung des zeitgenössischen Tanzes und der Performance, wie sie durch die
am TQW vertretenen Künstler_innen und Theoretiker_innen seit 2001 mitgeprägt wurde, nachzuvollziehen
und gegebenenfalls auch darüber wissenschaftlich zu arbeiten.
Die ONLINE-MEDIATHEK wird dabei als ein lebendiger Ort begriffen, der den informativen und kreativen
Austausch unter den Künstler_innen und Theoretiker_innen selbst ermöglichen und fördern soll. Darüber
hinaus ist uns ein großes Anliegen, die Vielfalt, die hohe Qualität und die Aktualität des österreichischen
Tanz- und Performanceschaffens in der internationalen Kommunikation voranzubringen.
Die ONLINE-MEDIATHEK teilt sich in zwei Bereiche:
-TANZQUARTIER WIEN ONLINE-ARCHIV
Das Online-Archiv beinhaltet derzeit ca. 300 Mitschnitte von Performances, Vorträgen, Lecture-Performances, Künstler_Innengesprächen sowie Research-Formaten, die in den
letzten 14 Jahren am Tanzquartier Wien stattfanden. Dieser Online-Bestand wird laufend
erweitert, wobei das vollständige Videoarchiv nach wie vor im Theorie- und Medienzentrum des TQW eingesehen werden kann.
-OPEN SPACE AUSTRIA ist ein durch die österreichischen Tanz- und Performancekünst
ler_innen selbst definierter Bereich der Online-Mediathek, in dem diese ihre eigenen Mitschnitte von ihren künstlerischen Arbeiten hochladen können. Mit dieser Plattform möch-
ten wir den internationalen in Österreich arbeitenden Künstler_Innen das Erreichen eines breiteren (Fach-)Publikums sowie das gezielte Fördern ihrer Arbeiten durch weitere interna
tionale Sichtbarkeit und Offenheit für fachliche Analysen ermöglichen. Weiters soll OPEN SPACE AUSTRIA den Austausch zwischen der hier produzierenden Szene und internatio
nalen Institutionen und Veranstaltern vorantreiben, indem er als ein Tool im Kontext von internationalen Aktivitäten des TQW wie dem European Dancehouse Network (EDN), dem Gastspielförderprojekt INTPA oder bei Veranstaltungen wie z.B. FEEDBACK gezielt einge
setzt wird, aber auch anderen als mediale Plattform über die Choreografische Praxis in
Österreich dienen kann.
In beiden Bereichen werden sämtliche Videos als Streaming verfügbar sein – und zwar OHNE DOWNLOAD-Option. Die Künstler_Innen können dabei sowohl im OPEN SPACE AUSTRIA wie auch im Tanzquartier Wien Online-Archiv selbst darüber entscheiden, ob die Videos ihrer Arbeiten frei zugänglich sind
oder passwortgeschützt veröffentlicht werden. Sämtliche frei zugängliche Aufnahmen der TQW-Mitschnitte
werden dabei nur mit einer Einverständniserklärung der Künstler_Innen online gestellt.
Mit freundlicher Unterstützung von
INTERNATIONALE NETZWERKE und PROJEKTE
An essential aim of the Tanzquartier Wien production location, which understands itself as a companion to
the artists, is the establishment of choreographers and artists and their work, both in venues as well as in
international interest circles and networks.
In order to internationalise dance and performance from Austria and to improve the production conditions
and preconditions for choreographers and artists in Europe, the Tanzquartier Wien has initiated various
projects – such as the launched International Performance Network Austria in 2012 and the EU-funded project Modul Dance – and is a decisive partner in international networks, including for example the European
Dancehouse Network.
EDN – European Dance Network
was founded in 2009 in Barcelona. EDN is a network for trust and cooperation between European dancehouses sharing a common vision regarding the development of dance art across borders. Our mission is to
cooperate in securing a sustainable future for the dance sector and to improve relevance for diverse dance
among society. In September 2014, EDN achieved the support of „Creatice Europe“ by becoming an EU
funded project.
EDN - European Dancehouse Network is an association of dancehouses which mission is to promote the
professional development of dance artists as well as dance as an art form. But the dancehouses are diverse, differ from region to region in size, focus or budget are driven by directors open for international cooperation and are also a platform for a new generation of cultural players. Through our personal engagement
we share different responsibilities and our collaboration is based on communication, trust and reliability.
Connect, develop, and support: dance-art crossing borders are the lemma of EDN. Working together enables us to do things that we could not do alone, and to advocate in different countries for better structures for
dance.
AIMS & OBJECTIVES
- For dance artists: to support them in their artistic and aesthetic development and in their artistic profession
- For dancehouses: to promote the practical feasibility of dancehouses as viable models contributing to
dance infrastructural development
- For the association’s members: to assist them in the necessary ways in order to support in the best way
dance and choreography; to spread the objectives, purposes and aims of the association; to solicit, receive
and hold donations, subscriptions, gifts and bequest of all kinds; to promote the objects of the association
through projects, programs, conferences, discussions, publications
- For dance sector, inter-sector relations and audience: to establish continue dialogue regarding artistic, organizational, cultural, social and political aspects concerning dance; to advocate for the needs, values and
potential of dance locally and internationally; to promote initiatives in the field of education, life-long learning
and the creation of new and diverse audiences; to cooperate by advice or otherwise an association, institution or body and having objects or purposes similar to those of the association.
BOARD
President of EDN is currently Francesc Casadesús Calvó, director of the Mercat de les Flors in Barcelona,
(elected in September 2013). Secretary is Walter Heun, artistic director of Tanzquartier Wien. Bettina Masuch, director of Tanzhaus nrw in Düsseldorf, is treasurer. Further board members are Eva Broberg, administrative director of Dansenshus Stockholm, as well as Benjamin Perchet, programming director of Maison
de la Danse Lyon.
TEAM
Since January 2015 Ulrike Kuner, head of artistic administration at Tanzquartier Wien, is having the position
of EDN supervisor. Two positions - project administration and communication - are currently available.
MEMBERS (in alphabetical order)
Adc - Association pour la danse contemporaine à Geneve / Switzerland
Art Stations Foundation Poznan / Poland
CDC Toulouse / France
Centre national de la danse CND Pantin-Paris / France
Comune di Bassano del Grappa - CSC (Centro per la Scena Contemporanea) / Italy
Dance East Ipswich / England
Dance Gate Lefkosia / Cyprus
Dance House Lemesos / Cyprus
Dance Ireland Dublin / Ireland
Dans Makers Amsterdam / The Netherlands
Dansehallerne Copenhagen / Denmark
Dansens Hus Oslo / Norway
Dansens Hus Stockholm / Sweden
DeVir/CAP Faro / Portugal
Duncan Dance Research Center Athens / Greece
Hellerau - European Center for the Arts Dresden / Germany
K3 - Zentrum für Choreographie | Tanzplan Hamburg Kampnagel / Germany
KLAP Maison pour la danse Marseille / France
Maison de la Danse Lyon / France
Mercat de les Flors Barcelona / Spain
O espaço do tempo Tempo - Montemor o Novo / Portugal
Tanssin talo ry. Helsinki / Finland
Tanzhaus nrw Düsseldorf / Germany
Tanzhaus Zürich / Switzerland
Tanzquartier Wien / Austria
The Place London / England
Further information will be available shortly at www.ednetwork.eu
The „International Net for Dance & Performance Austria“ (INTPA) supports Europe based performing
arts presenters with guest performances of artists working in Austria.
INTPA is a joint initiative between Tanzquartier Wien, the Austrian Federal Ministry for Europe, Integration
and Foreign Affairs and the Arts and Culture Division of the Federal Chancellery of Austria.
What is INTPA about?
INTPA supports Europe-based event organizers in guest-performances. Pro rata funding is provided for
events that showcase artistic productions of choreographers/performers working in Austria. Artist-inresidence or exchange programs/scholarships are not eligible for participation.
The rationale behind this initiative is to support and promote Austrian artists and their accomplishments
in dance and performance abroad and thus strengthen their position on a European level. Through the
network, European event organizers are encouraged to cooperate with Austrian artists while being able to
provide adequate incentives for Austrian artists to participate. The support also aims to mitigate the risk for
event organizers associated with presenting artists and productions that are not yet known in the respective
countries.
What countries does INTPA focus on?
INTPA support is aimed at countries within Europe with a particular focus on the Danube and Black sea
regions.
Who can apply for INTPA support?
Only event organizers that are based in Europe, with the exception of Austria, are eligible to apply.
What sorts of initiatives are supported?
INTPA provides pro rata funding for European-based event organizers that showcase artistic productions of
choreographers/performers working in Austria.The majority of the funding is allocated to supporting individual guest performances of an artist or a performance group.
In addition to the support of individual guest performances, two festivals or serial performance projects
will receive funding each year. In line with the program priorities, one will take place in a western European country while the other should be organized in the Danube and Black Sea regions. In order to further
promote Austrian artists and the Austrian art scene, a framework program is offered at selected festivals,
offering workshops conducted by the visiting Austrian artists or performance groups. The design and implementation of the framework program is jointly developed between Tanzquartier Wien and the local event
organizer.
How to apply for support of individual guest performances?
The event organizer submits an application form (detailed project description and cost estimate) for the
planned guest performance.
The application must be completed (and submitted electronically) at least two month prior to the scheduled
performance date. The proposed production by the invited Austrian artist must be ready to go on tour.
The cost estimate must comply with the minimum fee structure stated in the application form.
What expenses can be covered?
Pro rata funding (between 25% - 50%) applies to (a) fees and rehearsal fees of artists, (b) technical and
program management stuff of the respective production, and (c) travel expenses and accommodation costs
of the artist or the performance group. (Please note that support will be granted to a combination of the
above categories and not for only one of them).
In order to facilitate the process, expenses related to the venue or on site management will not be included
in the application or accounting.
In case your application is selected, the event organizers will receive a contract stating all funding conditions, responsibilities as well as accounting and reporting procedures.
How to apply for festival collaborations?
A number of festivals have been supported through this mechanism. Interested event organizers are asked
to seek out a representative of Tanzquartier Wien for informal consultations. Interested parties are also
encouraged to engage with the Austrian Cultural Forum in the respective country to discuss possibilities for
support under this mechanism.
Who decides? Meet the Jury
An independent jury decides on both, the use of the funds and the projects to be selected, taking into consideration the program criteria. The current members of the jury are Silvia Kargl (journalist), Hannah Crepaz
(event organizer) and Arno Böhler (philosopher).

saison 15/16 sept - dec

Transcrição

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