Choreography: Ginevra Panzetti / Enrico Ticconi

With: Anna Herrmann, Emma Lewis, Gesine Moog, Omagbitse Omagbemi, Lia Witjes Poole

Light design: Annegret Schalke
Sound design: Demetrio Castellucci
Costume design: Ginevra Panzetti / Enrico Ticconi, werkstattkollektiv
Technical Direction: Annegret Schalke
Sound: Mattef Kuhlmey
Production Assistant: Pauline Stöhr

Faced with Lucinda Childs’ early works, our attention is captured by the essentiality with which the bodies constitute a three-dimensional and concrete space, which seems to respond to the principles of architecture and solid geometry. Our gaze is enraptured by a brilliant solidity, like the consistency and mineral qualities of marble. A stone that, due to its special composition and brightness, has been considered the sculptural material par excellence, giving shape and colour to that idea of classicism that took shape during the Renaissance.

Lucinda Childs’ spatial and rhythmic design recalls the articulated and symbolic space of a marble quarry, a place where the human imprint infuses rigorous and indelible geometries into the spontaneous morphology of the landscape.

In response to the three early works by the American choreographer, MARMO investigates the mine as the place of a community engaged in a measuring project. It is a journey that follows the transformation of the stone from the initial phase of extraction to the sculptor’s workshop where it is carved. An evolutionary line that sees the transformation of the raw material up to the plastic definition of an ideal form.

In this path, the figures are the actual workers and absolute architects of the space, deciding its proportions, its size and light. While at the same time they assimilate those rules and conditions, becoming themselves malleable matter, sculpture.

This work is performed in the evening “Dancing Replies” with the three early works by Lucinda Childs, but can be presented singularly.

Production: Dance On / DIEHL+RITTER
Co-production: Kampnagel (Hamburg)

With the support of Lavanderia a Vapore, Centro di residenza per la danza
Supported by the NATIONALES PERFORMANCE NETZ Coproduction Fund for Dance, which is funded by the Federal Government Commissioner for Culture and the Media.

Choreography: Lucinda Childs

Staging: Ty Boomershine

Cast: Ty Boomershine, Anna Herrmann, Emma Lewis, Gesine Moog, Omagbitse Omagbemi, Lia Witjes Poole
Light Design: Martin Beeretz
Sound Design: Mattef Kuhlmey
Costume: Alexandra Sebbag

Online-Premiere: 18 – 20 December 2020, Radialsystem Berlin und STUK – House for Dance, Image and Sound 

The WORKS IN SILENCE offer insights into a decisive development phase of one of the most important choreographers of the 20th century.

This collection of early works from the extensive repertory of Lucinda Childs is exciting both because of its rarity and its importance in the dance field. Most of these works have not been seen since they were first shown in the 1970s. In these dances, Childs has left behind props, objects, the spoken word, symbolic movement – all hallmarks of the era of the Judson Dance Theater – and chosen to focus on the passage of the body through space. To zero in on the essence of initial movement, which, for Childs, is the act of walking. From walking to running, to changing direction, to skipping, to leaping: the WORKS IN SILENCE illustrate the evolution of movement into dance through the choreographic vision of Lucinda Childs.

“I think it’s very musical for dancers to share a pulse,” she says. “They have to listen to each other. That’s what a musical ensemble does. They tune in to each other in a very precise way.” The pieces are a rare entrance into a crucial period of transformation of a choreographer and director whose impact on both the world of the visual arts and influence on a generation of choreographers cannot be overstated. The works express a fragility and a humanity that is a perfect example of the value of experience, and ideally suited to a group of dancers that bring with them their own abundant histories and knowledge. In the act of stripping away all artifice and theatricality, the beauty and truth of wisdom is confronted, shared, and exposed.

Production: Dance On/DIEHL+RITTER
Co-production: STUK. House for Dance, Image and Sound /Münchner Kammerspiele
Funded by the Doppelpass Fund of the Kulturstiftung des Bundes (German Federal Cultural Foundation)

Concept/Direction: Rabih Mroué

In Collaboration with the Dance On Ensemble

Cast: Anna Herrmann, Emma Lewis, Christine Kono, Marco Volta

Text: Rabih Mroué in collaboration with Ty Boomershine
Voices: Ty Boomershine, Christine Kono

Lighting Design: Arno Truschinski
Sound: Mattef Kuhlmey
Costume: Sophia Piepenbrock-Saitz
Assistant to the director: Clarissa Omiecienski

Premiere: 08 November 2019, ONASSIS STEGI, Athens (additional performances on 9th+10th November 2019)

Rabih Mroué’s new work You should have seen me dancing Waltz confronts the dancers Anna Herrmann, Emma Lewis, Marco Volta and Christine Kono with the news of our daily violence, natural disasters and politics. How do current events affect – and infect – the dancers’ bodies? What is their impact on a physical level? Do they change how we move? These questions will be negotiated in very personal ways, dealing with the impact of words describing their movements.

Production: Dance On /DIEHL+RITTER
Co-Production: ONASSIS STEGI, Kampnagel Hamburg

Supported by the NATIONALES PERFORMANCE NETZ Coproduction Fund for Dance, which is funded by the Federal Government Commissioner for Culture and the Media.