Kategorie-Archiv: Productions

SHOW TO BE TRUE

Charlotta Öfverholm / Age on Stage & DANCE ON ENSEMBLE

DANCE ON EXTENDED

 

show to be true

Choreography: Johannes Wieland[…]

 

 

Artistic Direction DANCE ON ENSEMBLE: Christopher Roman

Artistic Direction Chralotta Öfverholm / Age on Stage: Chralotta Öfverholm

 

Choreographic Assistance: Evangelos Poulinas

Lighting and Set Design: Tobias Hallgren

Composition and Sound Design: Donato Deliano

Costume Design: Elle Kunnos de Voss

 

Cast: Charlotta Öfverholm, Christopher Roman, Jone San Martin, Brit Rodemund, Ty Boomershine, Jan-Erik Wikström, Frédéric Tavernini and Rafi Sady

 

 

lies forever!

let us bend and twist.

let us pretend.

let us mislead and deceive.

let us embrace total irrationality. 

yes, exactly – let us just keep on bending and twisting, pretending, misleading and deceiving!

 

Production: Compagnie Jus de la Vie / Age on Stage

Co-production: DIEHL+RITTER gUG / DANCE ON, Dans i Nord

 

Co-funded by the Creative Europe programme of the European Union as part of DANCE ON, PASS ON, DREAM ON.

 

DANCE ON is an initiative by DIEHL+RITTER gUG funded by the German Federal Government Commissioner for Culture and the Media

Tenacity of Space

Choreography and Direction: Deborah Hay[…]

With artistic support from Jeanine Durning and Ros Warby

Jeanine Durning is a choreographer and performer from New York, creating work that has been described by The New Yorker as having both “the potential for philosophical revelation and theatrical disaster.” She is the recipient of The Alpert Award for Choreography as well as of a number of grants and residencies. In addition to her own projects, she has created over twenty-five works for companies, independent performers and institutions, including most recently for Toronto Dance Theatre. As a performer, she has collaborated with many choreographers with diverse creative concerns. In 2005, she began working with Deborah Hay and has performed in and toured several ensemble works including O,O and If I Sing to You. From 2010-2013, she was involved with Hay’s work with Motion Bank with her solo adaptation of No Time to Fly and the trio As Holy Sites Go, as well as the duet with Ros Warby, As Holy Sites Go/duet. Jeanine Durning has a dedicated teaching practice at SNDO/Amsterdam, HZT/Berlin and at many universities in the US.

Ros Warby is a leading Australian dancer/choreographer. Her award winning work has been presented in Australia, Europe and the USA (including Venice Biennale, Dance Umbrella, Sydney Opera House, Dance Theatre Workshop, NY). The solo dances she creates invoke characters that often transcend archetypes by sliding between iconic figures and ideas. Recognised for her unique performance work, Warby has also performed with numerous companies and artists including Lucy Guerin Inc. and the Deborah Hay Company. Warby is currently serving as Adjunct Assistant Professor at the Univiersity of California, Los Angeles (UCLA). Dpt. World Arts and Cultures / Dance.

In collaboration with Ty Boomershine, Amancio Gonzalez, Brit Rodemund, Christopher Roman and Jone San Martin

Artistic Direction DANCE ON ENSEMBLE: Christopher Roman

Premiere: 24 March 2017, tanzhaus NRW, Düsseldorf (further performances on 25 & 26 March 2017)

 

Deborah Hay:

Dance is my form of political activism. It is not how I dance or why I dance. It is that I dance.

The Tenacity of Space represents a catastrophic loss of learned dance behavior. Rather than rely on their physical bodies and what they can do, the DANCE ON quintet was encouraged to relentlessly notice everything in their visual field to support their moving bodies. Immensity is within ourselves. It is attached to a sort of expansion of being that life curbs and caution arrests…(Gaston Bachelard, Poetics of Space)

Recognizable movement is not an element in my work. Instead I create conditions that are intended give rise to an atmosphere of indefinable logic for both the dancer and the audience. What keeps me interested in Tenacity of Space is what I cannot name or point to in watching how the DANCE ON ENSEMBLE responds to my choreography.

Tenacity of Space is a phrase I found while reading Harvest, a recent Jim Crace novel. It was my second reading of the book and I turned to it during my five weeks with the ensemble. The phrase leapt out perhaps because of two particular issues in the news, one being Trump’s ascension to power and the other being the Syrian Diaspora. During my second week with the dancers I felt a need to somehow reference these disempowering world conditions in the dance being made. Changing the title from Nothing is Outside to Tenacity of Space changed how we continued to work together.

 

Lighting Design: Tanja Rühl

Tanja Rühl was trained as a specialist in theatrical engineering at the Frankfurt opera, and from 2002 onwards was lighting assistant at Ballett Frankfurt under the artistic directorship of William Forsythe. When the company was reorganized as the Forsythe Company in 2005, she undertook the post of Lighting Supervisor, from 2007 onwards creating numerous lighting designs for the company. As a member of the Forsythe production team she is worldwide a consultant for questions of technique and design wherever performances of Forsythe‘s works are mounted. Since the summer of 2014 she has concentrated on developing an international career as a freelance lighting designer for a wide variety of artists and companies.

Composition and Live-Electronics: Mattef Kuhlmey

Mattef Kuhlmey is a musician, sound designer and music teacher. With his band ALP he creates silent movie soundtracks. His label FORTSCHRITT MUSIK is a platform for companioned bands.  Mattef teaches for fifteen years Polish, Czech and German youth in the project LANTERNA FUTURI. For several years he worked as a theater musician, mainly in the field of dance theater and performance, with a substantial interest in the exploration and balance of technical possibilities and musical traditions.

Costume Design: Judith Adam

Judith Adam studied fashion design in Berlin and began working as a costume designer in 2004. Her regular collaborator since then is the choreographer Tim Plegge, with whom she has created pieces including Momo, Kaspar Hauser, and their current production of A Midsummer Night’s Dream. She also designed the costumes for ballets by Reginaldo Oliveiras (Der Fall M., Anne Frank) and Antoine Jully (Jurassic Trip, Men and Women), and has worked with directors Helena Waldmann (Made in Bangladesh, Gute Pässe schlechte Pässe), Amigo Kadir Memis (Cabdance) and Gabriele Reuter (Tourist – a de-centred play, The Amplitude). Beside her great interest in contemporary dance, Judith Adam has worked in musical theatre with directors including Corinna Tetzel, Michaela Dicu, Elmar Ottenthal and Annette Leistenschneider. She teaches a seminar on dance costumes at the Academy of Fine Arts Dresden.

Tailoring and Costume-Making: Sophia Piepenbrock-Saitz

Sophia-Elise Piepenbrock-Saitz studied costume design at the Academy of Fine Arts Dresden from 2011 to 2015, graduating with a diploma in design. Previously she had completed her vocational training in women’s tailoring. A freelance tailor since 2017, she produces costumes for theatre and dance productions as well as taking on commissions from private clients. Her experience of working in theatre costume workshops includes the Semper Opera Dresden, the Friedrichstadtpalast Berlin, and the Sydney Opera House.

Assistant to the choreographer: Katharina Rost

© Dorothea Tuch
© Dorothea Tuch

Co-production: tanzhaus nrw, ADC-Association Danse Contemporaine Genève

Supported by the NPN Coproduction Fund for Dance, which is funded by the Federal Government Commissioner for Culture and the Media on the basis of a decision made by the German Bundestag.

Co-funded by the Creative Europe programme of the European Union as part of DANCE ON, PASS ON, DREAM ON

DANCE ON is an initiative by DIEHL+RITTER gUG funded by the German Federal Government Commissioner for Culture and the Media

 

© Andrea Keiz

 

Evening Programme of Tenacity of Space:

Man Made

Concept / Choreography: JAN MARTENS[…]

In artistic collaboration with and from Ty Boomershine, Amancio Gonzalez, Brit Rodemund, Christopher Roman and Jone San Martin

Premiere: 11 March 2017, Kampnagel Hamburg (further performance on 12 March 2017)

 

2017.

The times they are a-changing. In times when populists are taking over, with too much(internet-)space for everyone’s opinion, ultrapolarized debates and fake news, it seems there is no place for accuracy, for deep thinking and afterthought, for empathy. In Man Made, Jan Martens creates a choreographic and social system using the craft, knowledge, connections, experience and fragility of five dancers who have been dancing for years and years. Collaborating, listening to each other and making empathetic decisions in the moment will be key to bringing this complex moving system to a good end. Perhaps. A choreography that celebrates the ‘Arbeit’ of dancing and the possibility of tuning in with fellow humans, it shows how by doing and watching art, we try to become better human beings. Hopefully.

And the outcome? We don’t know the outcome – A trompe l’oeil?  A fata morgana?  Utopia? Perhaps. What we do know is that Man Made is a dynamic body of work with a much-needed touch of naïveté. A flash of light in dark times.

 

Outside Eye: Renee Copraij

Renée Copraij studied dance and art-history. She worked in the nineties as a dancer with Jan Fabre and later as his assistant and dramaturg for several productions. Copraij taught choreography workshops at the SNDO (School for New Dance Development) in Amsterdam and is still an advisor for students. She was curator for Festival a/d Werf in Utrecht where she programmed and produced work on the verge of visual arts and theatre. The last years she was curating the guestartists for ICKamsterdam and went back to performing among others in Wellness from Florentina Holzinger&Vincent Riebeek and in Mount Olympus from Jan Fabre.

Lighting Design: Dominique Pollet

Dominique Pollet is a lighting designer, dance dramaturg and stage performer. He has created, collaborated and toured internationally since the 1990’s. In his architectural approach he treats his light sources as performers, placing them as a set design. His scenography wants to be vibrantly alive and in communication with the dancer, creating a mutating world for the audience to dwell upon. Dominique Pollet worked with Adam Linder, Varinia Conto Villa, Meg Stuart, Emanuel Gat, Wim Vandekeybus, Larbi Cherkaoui, Iris Bouche, Herve Guerrisi & Gaia Saitta, Ami Garmon, Frank Willens & Maria Scaroni, Tony Vezich, Filip Van Huffel, David Hernandez, Ives Thuwis & Gregory Caers, Tarren Johnson, Geraldo Si and Jan Martens.

Composition and Live-Electronics: Mattef Kuhlmey

Mattef Kuhlmey is a musician, sound designer and music teacher. With his band ALP he creates silent movie soundtracks. His label FORTSCHRITT MUSIK is a platform for companioned bands.  Mattef teaches for fifteen years Polish, Czech and German youth in the project LANTERNA FUTURI. For several years he worked as a theater musician, mainly in the field of dance theater and performance, with a substantial interest in the exploration and balance of technical possibilities and musical traditions.

Costume: Sophia Piepenbrock-Saitz

Sophia-Elise Piepenbrock-Saitz studied costume design at the Academy of Fine Arts Dresden from 2011 to 2015, graduating with a diploma in design. Previously she had completed her vocational training in women’s tailoring. A freelance tailor since 2017, she produces costumes for theatre and dance productions as well as taking on commissions from private clients. Her experience of working in theatre costume workshops includes the Semper Opera Dresden, the Friedrichstadtpalast Berlin, and the Sydney Opera House.

 

© Andrea Keiz

© Dorothea Tuch
© Dorothea Tuch

 

 

 

Co-production: Kampnagel Hamburg

Co-funded by the Creative Europe programme of the European Union as part of DANCE ON, PASS ON, DREAM ON

DANCE ON is an initiative by DIEHL+RITTER gUG funded by the German Federal Government Commissioner for Culture and the Media

 

 The evening Programme of Man Made:

Catalogue (First Edition)

Choreography: WILLIAM FORSYTHE[…]

Premiere: 7 October 2016, Theater im Pfalzbau, Ludwigshafen
Further performance on 8 October 2016

In artistic collaboration with: Jill Johnson (*), Brit Rodemund and Christopher Roman
Artistic Direction DANCE ON ENSEMBLE: Christopher Roman

(*) Jill Johnson as guest dancer

Is Director of Dance, faculty in Music and Theater, Dance & Media; Artistic Director of the Harvard Dance Project, at Harvard University. Ms. Johnson is a graduate of Canada’s National Ballet School, a 28-year veteran oft he dance field; choreographs for film, television and the stage; has danced in over 50 tours on 5 contintents; was a soloist with the National Ballet of Canada and a principal dancer and researcher in William Forsythe’s company Frankfurt Ballet. She stages Forsythes’s work worldwide, including for Paris Opera Ballet, La Scala, Batsheva Dance Company, Norwegian National Ballet, Lyon Opera, Netherlands Dance Theater, and American Ballet Theater. Johnson is a founding collaborator of The Movement Invention Project in New York, and has served on the faculties of and created choreographic work for Princeton University, Columbia University, the Juillard School and NYU. Recent collaborations include those with the Harvard Choruses, Harvard Mahindra Humanities Center, Carpenter Center for Visual Arts, Boston Ballet, San Francisco Ballet, Amercian Repertory Theater, Dries Van Noten and the Louvre Musee des Arts Decoratif, Ryuichi Sakamoto, and Mikhail Baryshnikov.

An “intricate, almost baroque piece” – this is how the celebrated choreographer William Forsythe describes his new piece for the DANCE ON ENSEMBLE. The richness of the bodily knowledge shared between Jill Johnson and Christopher Roman, both former Forsythe dancers, and Brit Rodemund, is part of the fabric of the piece. Forsythe continues to search for new shapes and modes of movement. He is looking back in order to re-invent himself.

The idea for the duet came from an intention to highlight the special relationship, shared sensibilities and coordinative skill set of Jill Johnson and Christopher Roman. They have collaborated closely for a long time, staging many of Forsythe’s works all over the world.

Brit Rodemund, who has not worked with Forsythe before, was included in the rehearsal process from the beginning. She and Johnson, the first guest dancer to join the DANCE ON ENSEMBLE, will share the female role in alternate performances. Different facets of these three dancers and their professional experiences come together to form the basis of Catalogue (First Edition).

Lighting Design: Benjamin Schälike

Sound: Stephan Wöhrmann

Premiere: 07 October 2016, Theater i Pfalzbau, Ludwigshafen

Co-production: Theater im Pfalzbau, tanzhaus nrw
With the support of BASF SE
In cooperation with the USC Glorya Kaufmann School of Dance, Los Angeles

Co-funded by the Creative Europe programme of the European Union as part of
DANCE ON, PASS ON, DREAM ON

DANCE ON is an initiative by DIEHL+RITTER gUG funded by the Federal Government
Commissioner for Culture and the Media.

Catalogue (First Edition) is a production of the DANCE ON 1. EDITION.

catalogue_4510Photo: Dorothea Tuch

The evening programme of Catalogue (First Edition):

7 Dialogues

Artistic Direction / Composition: MATTEO FARGION[…]

An artistic collaboration with, by and from: Ty Boomershine, Ivo Dimchev, Tim Etchells, Beth Gill, Amancio Gonzalez, Étienne Guilloteau, Hetain Patel, Brit Rodemund, Christopher Roman, Jone San Martin, Ami Shulman, and Lucy Suggate

The focus of the 7 Dialogues, the first production of the 1. EDITION, is on the ensemble members themselves: working with artistic dialogue partners, they are currently developing individual self-portraits that the composer Matteo Fargion will weave into a single, overall composition. Christopher Roman works with the Bulgarian performance artist Ivo Dimchev; Amancio Gonzalez with the London-based shooting star and visual artist Hetain Patel; Jone San Martin with the British director, author and performer Tim Etchells, director of the famous performance group Forced Entertainment; Ty Boomershine with the New York choreographer Beth Gill; Brit Rodemund with the London-based choreographer and dancer Lucy Suggate; and Ami Shulman with the French choreographer Étienne Guilloteau. For the seventh dialogue, the Fargion will be working with the dancers to create a full-evening performance from their very different solos and thereby present the entire DANCE ON ENSEMBLE in a congenial, harmonious way.

 

Costume: Claudia Hill
Claudia Hill is a cross-disciplinary artist who transforms textile into profound objects. Her work ranges from costume design to participatory projects and visual concepts.

In New York during the 1990s, Claudia began working in costume design as well as founding her eponymous clothing line. She presented her collections in form of multi-media events during New York Fashion Week, collaborating on installations, conceptual performances, videos and presentations with a wide range of artists such as the musician Skúli Sverrisson, the artist Nelly Agassi and the innovative firm Asymptote Architecture. Her passionate engagement with performance art draws greatly on her own background and training in dance. Now based in Berlin since 2008, Claudia works on visual concepts and costume design for performances with the choreographer Meg Stuart and on artists’ films, such as with Michaël Borremans or Boris Achour. She was commissioned to design costumes for the choreographer William Forsythe and for the New York based ensemble The Wooster Group. Critic Leora Barish wrote about her work: “Hill’s approach is typically playful, iconoclastic, sensual but aesthetically refined, intellectually elegant. Experimentation is always balanced by a scrupulous clarity of purpose, so that each detail is justified, and the whole is graced with dignity and integrity.” Claudia continues to develop her ideas in visual concepts, costume and participatory projects, which to her, offer a rich and challenging whole. “I am interested in making objects that create possibilities for personal encounters and function as mediators: A project that illustrates this well, is a durational proposal I developed in 2011, when I wove a poncho from personal, recycled textiles and sent it on a journey around the world to artist friends. The documentation of their interaction with the poncho is collected in form of a travel journal, and is to be published as a book.”

Light: Benjamin Schälike
Benjamin Schälike has been working as a freelance lighting designer for theatre, opera, dance and performance since 1991, including for:

2 FISH, Alexander Charim, Angela Schubot, Eva Meyer Keller, Felix Marchand, Gesine Danckwart, Hanna Hegenscheidt, Hannah Hurtzig, Hans-Werner Kroesinger, Hermann Heisig, Hyoung-Min Kim, Jee-Ae Lim, Julia Reinartz, Lea Martini, Lupita Pulpo, Martin Clausen, Nir de Wolf, Santiago Blaum, She She Pop, Peter Zadek and White Horse. He is a co-founder of the Tanztage Berlin festival and has been its technical director since 2010. He has also performed this, or a similar, role at other festivals (Expo 2000, Mobile Akademie, Ruhrfestspiele Recklinghausen, Tanz im August, Impulse Tanz – the Vienna International Dance Festival, Tanznacht, Love Parade and Uferstudios Berlin). He has been technical director of the Uferstudios Berlin since 2012. In 2007, together with Inge Koks, he was programmer and artistic director of Tanztage Berlin. In 2006 and 2007, he presented his own productions at the Sophiensaele: Wir steigern uns… (2006) and Das schwierige ist ja, dass es viel einfacher ist… (2007). Since 2007, he has been a guest lecturer for lighting design at the Kunstakademie Düsseldorf, the HFG/ZKM Karlsruhe, in the Choreography department at the Ernst Busch Academy of Dramatic Arts, at HZT Berlin as well as in Seoul (South Korea) and Montevideo (Uruguay).

 

Production: DIEHL+RITTER gUG
Coproduction: Holland Dance, Theater im Pfalzbau, tanzhaus nrw
With support of BASF SE

DANCE ON. A Project by DIEHL+RITTER gUG
Funded by the Federal Government Commissioner for Culture and the Media

7 Dialogues is the first production in the DANCE ON 1. EDITION repertoire.

Premiere: January 28th, 2016 at Holland Dance Festival, Korzo Theatre, The Hague
Additional performances on January 29th and 30th, 2016

 

The evening programme of 7 Dialogues:

#danceon

Water between three hands

Concept/Director: RABIH MROUÉ[…]

Premiere: 23 April 2016, Kampnagel, Hamburg
further performance on 24 April 2016

In collaboration with the DANCE ON ENSEMBLE

Deaths, disappearances or farewells are all ways of becoming absent, of loosing something, someone or yourself. At the same time, the things lost remain and bury themselves in our memory, so we’re dancing on the traces of existing graphs, collecting fragments, trying to see a whole that doesn’t exist. We’re carrying water that runs through our hands. If there’s no beginning, there’s no end, no margin, no hierarchy. In his first work with dancers, the theatre-maker Rabih Mroué is interested in the relationships between presence and absence, reality and fiction, focusing on performers’ bodies as sites of archival sedimentation of these questionable boundaries.

Mroué’s piece is the second production of the DANCE ON 1st EDITION, which is part of a comprehensive, established initiative about the value of age in dance.  

In artistic collaboration with: Ty Boomershine, Amancio Gonzalez, Brit Rodemund, Christopher Roman, Jone San Martin, Ami Shulman

Live-Music/Composition: Philip Danzeisen

born in Essen/Germany, grew up in Frankfurt Main/Germany. Raised in a family of actors, he developed an interest in combining theatre, dance, and music early on.

In 1994 he moved to New York to study drums at the New School University and received his BFA in 1998. 2006 he received a scholarship for the Sound Design program of the Theater and Dance department at UCSD where he studied for one year. Philipp is based primarily in Berlin. Performing credits include appearances in pieces by Einar Schleef, Jan Fabre, William Forsythe/Ballett Frankfurt, Tom Kühnel/Schaubühne Berlin, and Walter Fischbacher (New York). In addition, he has designed and performed several of his own sound projects; for example, a piece at the Artaud exhibition at the Kunstpalast in Düsseldorf. He has also worked as a sound designer and musician for fashion shows by Hugo Boss and Costume National in Milan. In 2005, Philipp toured his project Ur Jazz Sonate in Europe and was invited for the Kurt Schwitters exhibition at the Museo de arte moderno in Mexico City. 2015 he peformed at the ZERO exibition at the Gropiusbau in Berlin.

www.sharpa.org (current project)

Light: Benjamin Schälike

Sound: Mattef Kuhlmey

Co-production: Kampnagel Hamburg, tanzhaus nrw
In collaboration with Tanzfabrik Berlin

DANCE ON is an initiative by DIEHL+RITTER gUG funded by the Federal Government Commissioner for Culture and the Media.

Water between three hands is the second production in the DANCE ON 1. EDITION repertoire.

Photos from Premiere

DANCE ON ENSEMBLE, Foto: Dorothea Tuch
Photo: Dorothea Tuch

Trailer of premiere:

Video: Andrea Keiz

The evening programme for WATER BETWEEN THREE HANDS is online:

Videos of rehearsal

Videos: Andrea Keiz

 

Those specks of dust

Concept / Choreography: KAT VÁLASTUR[…]

Premiere: 19 August 2016, Tanz im August 2016 / HAU 1, Berlin
further performance: 20 August 2016

In collaboration with the DANCE ON ENSEMBLE

 

Recalling the process of becoming a dancer, it feels like a constant negotiation with nature: there’s a need to express things that cannot be said in any other way than through dance. In order for the body to follow the intensity of that need, it has to be tamed like a horse, but without betraying its wildness; and in order for dancers to be able to perform a sequence of movements with clarity and grace, their dancing has to become excessive, at which point it starts becoming the basis of a lifetime’s work. There then comes a time when dance is shared, when we offer our performing to the audience.

Those specks of dust reverses the act of performing and gives ‘the eye of the beholder’ to the dancers. Their gaze shifts to their own bodies, watching them as they create movement. This subjective observation allows the dancers to return to the primal roots of their life choice. The choreography gives them the space to re-experience, re-discover and express their fascination, admiration and surprise towards their dancing bodies.

„A body that unfolds a movement in the space is like the birth of a world. This is what the ensemble dancers Brit, Ty, Jone, Amancio, Ami and Christopher convey when they see their arms open…Wow.“ Kat Válastur

In artistic collaboration with: Ty Boomershine, Amancio Gonzalez, Brit Rodemund, Christopher Roman, Jone San Martin, Ami Shulman

Light: Martin Beeretz
Stage/Installation: Filippos Kavakas
Choreographic Assistence: Maria Tzika
Sound: Kat Válastur/Stephan Wöhrmann
Costume: Lydia Sonderegger
Costume Assistence: Héloïse Bouteille
Production Management: Guilia Messia

Co-production: Tanz im August, tanzhaus nrw
With thanks to Tanzfabrik Berlin and Uferstudios GmbH

DANCE ON is an initiative by DIEHL+RITTER gUG funded by the Federal GovernmentCommissioner for Culture and the Media.

Those specks of dust is a production in the DANCE ON 1. EDITION repertoire.
Read the evening programme:

Trailer from rehearsal: Those specks of dust

Photos from the rehearsal:

DANCE ON ENSEMBLE, Photo: Dorothea Tuch
DANCE ON ENSEMBLE, Photo: Dorothea Tuch

 

DANCE ON ENSEMBLE, Foto: Dorothea Tuch
DANCE ON ENSEMBLE, Foto: Dorothea Tuch