Impro 2007
27. January Streugut

27. January Streugut

with: Ingo Reulecke, Martin Clausen, Zufit Simon und Alexander Frangenheim

In Streugut, we slam several media together: movement, speech, voice and a musical instrument. We all come from varied trainings; our approach to how to express a feeling state/mood/attitude/energy differs. Where we find common ground is in the ability to listen, sense, pay attention. Whether it is flash of movement, or a repeated phrase, we are noticing each other, all following the sound and energy of the room, the music of the improvisation.

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Michaël d'Auzon and Guests

24. February Michaël d'Auzon and Guests

PLAY/STOP CONCEPT Study #1

with: Michaël d'Auzon, David Bloom, Barbara Meneses, Maria Eugenia Rivas Medina, Davide Sportelli, Anna Tenta (Dance), Johannes Sienknecht (Sounddesign)

“There is an art of playing with the brightness and density of the bodily aura. In our dancers slang we call it the Angel Movement. To the core of every motion I seek the glowing point, when a certain quantity of energy leads intuition to pour forth faster than thought. Between calm and haste, I do wonder about truth. Instantaneity and irreversibility stand to face me as two blurred spots. Deeply understanding their meaning seems to be a key.”

With a recently formed group of five dancers, Michaël d’Auzon works on redefining the act of choreographing, using improvisation as a tool for studying the different parameters of movement. The process, through its analytic approach, points to an understanding of dance as language and illuminates the disconcerting act of penetrating emptiness.

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31. March Shannon Cooney

with: Shannon Cooney and Benoit Lachambre (Performer)

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April David Hernandez and Guests

28. April David Hernandez and Guests

with: David Hernandez (Dance & Lightdesign), Felix Ruckert, Davide Sportelli, Clair Peters, Renate Graziadei, Arthur Stäldi (Dance), Alexander Frangenheim (Contrabass)

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May Joerg Hassmann

26. May Joerg Hassmann

with: Joerg Hassmann and Angela Doni (Dance), Arthur Stäldi (Light)

What is necessary in order for contact improvisation to be performed with both aesthetic and technical consistency?
Angela Doni (Moskau) and Jörg Hassmann (Berlin) search for answers to this question. Developing out of a long-standing festival friendship with many profoundly different dancers and successful short performances, their desire is to use this potential to create an evening-length piece. They work with qualities of touch, principles of movements, themes and images to  shape space with their improvisation. The events that take place on stage find their source from honest moments of decision-makig during a performance and the vulnerability of the dancer connected with them. This performance is the result of the first stage in a three-phase project. In November the matured, yet always improvised, piece will come from Moscow back to Berlin.

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June LaborGras and Guests

30. June LaborGras and Guests

with: Clair Peters, Renate Graziadei, Shannon Cooney, Friederike Plafki, Gabriel Galindez Cruz, Davide Sportelli , Tobias Wegner (Dance), Götz Dihlmann (Light), Alessio Castellacci (Sound)

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October Britta Pudelko and Guests

27. October Britta Pudelko and Guests

Simple Task no. 1 "Music to Movement"

with: Katrin Geller, Britta Pudelko, (Dance), Klaus Janek (Double Base), Sabine Vogel (Flute), Michael Zerang (Percussion)

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Philipp Caspari and Guests

24. November Philipp Caspari and Guests

"PlayGround" Improvisationsquartett for Music and Dance

with: Daniela Lehmann, Katharina Poensgen, Philipp Caspari (Dance nad Voice), Johannes Kiem (Elektro Piano), Arthur Stäldi (Light)

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Rosalind Crisp and Guests

29. December Rosalind Crisp and Guests

„the d a n s e project “

with: Rosalind Crisp , Lena Meierkord, Ulrike Reinbott (Dance) Andrew Morris (Sound)

d a n s e is a modality of work that I have been developing since 2005. It is about both a way of working with the body and an ensemble of unstable principles which conduct the production of movement. These principles are continually transforming, constituting a language that is both rigorously identifiable and constantly mutating.

d a n s e  is not a piece but a changing "world" formed by its own principles of movement production. This process of work is the basis from which pieces or performances crystallise. Each piece or performance (which we term sites) can be seen as a facet, or a specific moment of the process. Each site is born from the confrontation between the process of  d a n s e and different artists, spaces or specific questions. Each of these meetings opens a new direction in the work, giving each site its particular form and substance.

For this site of  the d a n s e project I have invited Ulrike Reinbott and Lena Meierkord to appropriate some material of  d a n s e from video. Over 4 or 5 days we will work on how to capture, and what to capture, of this previously unwritten work, and then explore a possible compositional dialogue between their set material and my improvised dancing of the work.

The practice of  d a n s e focuses on the making of  movement, on making visible the process, the act of choreographing. It is the practice of a dynamic set of principles which guide the production of movement and which focus the dance artist's attention on the continual process of creating movement. Like any dancer training, the repeated practice of an activity 'wires' those practiced options into the body-mind, allowing the dancer to execute them effortlessly. The d a n s e practice is not about 'wiring' in pathways of movement but rather 'wiring' in a dynamic set of principles which guide the creating of movement by the dancer. The dancer is occupied with choreographing in response to each previous movement choice they make, and to the accumulated history of the practice in their body.

Recognisable' gestures often fall out of this process, gestures that are recognisable by their reference to everyday human or animal movements. Inside the 'world' ofd a n s ethese gestures are only ever fleeting, they do not last long enough to become solid, to arrive and hence to break the parameters of the 'world' which rest entirely on a state of continual potentiality.
Rosalind Crisp
... special thanks to Andreas Müller, Isabelle Ginot, Lizzie Thomson and Andrew Morrish whose participation in the project over the last few years has influenced in great ways the evolution of the work.

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