25- 16. Mai 2021 - Internationales Solo Tanz Theater Festival ...
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12. – 16. Mai 2021
01
Liebe Festival- Liebe Festival-
Gäste, / Dear Gäste, / Dear
Festival Guests, Festival Guests,
Dr. Frank Nopper, Oberbürgermeister Marcelo Santos Gudrun Hähnel
Landeshauptstadt Stuttgart Artistic director Festival director
???????? ???????? was für ein Jahr liegt hinter uns! What a year it has been! This
Das diesjährige Festival hebt sich year’s festival not only stands out
für uns nicht nur als Jubiläums- as our jubilee edition, but also
ausgabe hervor, sondern auch, because it will have been planned
weil es unter außergewöhnlichen and will be held under/in extraor-
Umständen vorbereitet wurde dinary circumstances.
und stattfinden wird. Noch nie Never before have we been plan-
haben wir so viel geplant, ver- ning, changing, throwing out at
ändert, kurzfristig umgeworfen, the last minute, and re-envisio-
neu gedacht. Um so mehr freuen ning as much. All the more reason
wir uns nun, dass wir mit Ihnen for us to be joyful that we can
den Geburtstag unseres Festivals celebrate our festival’s birthday
feiern können. Und es gibt noch with you. And there is more cause
einen Grund zur Freude: In diesem for celebration: This year, as a
Jahr wurde unserem Festival special recognition, our festival
als besondere Anerkennung das received the EFFE label – Europe’s
EFFE-Label verliehen, Europas mark of quality for outstanding art
Gütesiegel für bemerkenswerte festivals.
Kunstfestivals.
25 years of International Solo-
25 Jahre Internationales Solo- Dance-Theatre Festival – it’s a
Tanz-Theater Festival – das ist number that we are proud of. It
eine Zahl, auf die wir stolz sind. means that over all these years,
Denn sie bedeutet, dass wir Sie, we have been able to inspire you,
liebe Festivalgäste, über all die dear festival-goers, with contem-
Jahre für den zeitgenössischen porary dance. We want to thank
Tanz begeistern konnten. Wir all who have stayed with us and
danken allen, die uns treu geblie- have supported us in many diffe-
ben sind und – in welcher Form rent ways. Please look forward
auch immer – unterstützt haben. with us to fascinating, touching
Freuen Sie sich mit uns auf and inspiring dance theatre, and
faszinierendes, berührendes und – in a positive sense – „moving
inspirierendes Tanztheater und times”!
im positiven Sinne „bewegte
Zeiten“!
03
DONNERSTAG 13/5, 20.00 SAMSTAG 15/5, 20.00
THURSDAY SATURDAY
The pluralist, deconstructed, humorous body of her the EQ of the heart
Choreography: Smadar Goshen (Israel) Choreography & Performance:
Performance: Selina Koch (Germany) Tushrik Fredericks (South Africa)
Quelques-uns le demeurent Bunker
Choreography & Performance: Choreography & Performance:
Alexandre Fandard (France) Rebecca Margolick (Canada)
Overwhelmed CRUDA
Choreography: Giulia Menti (Italy) Choreography & Performance:
Performance: Gloria Gastaldon (Italy) Nnamdi Christopher Nwagwu (Italy/Nigeria)
Weary Blues Legaxy xx
Choreography & Performance: Jonathan Reimann (Germany) Choreography & Performance: Breeanne Saxton (USA)
I need to … It Waits for no one
Choreography & Performance: Clémence Juglet (France) Choreography & Performance:
Abdelrahman Ahmed (Egypt)
IVAR
Choreografie & Performance: Gonçalo Reis (Portugal) The Tension of Nature
Choreography & Performance: Andrea Ward (USA)
FREITAG 14/5, 20.00
FRIDAY
There is somethin wrong in my head (?)
Choreography: Melissa Zuccalà (Italy)
Performance: Benedetta Cannolo (Italy) SONNTAG 16/5, 17.00
Single
Choreography & Performance:
SUNDAY
Arnau Pérez de la Fuente (Spain)
Grand Finale
A Flash of Oblivion
Choreography & Performance: Reiko Ohta (Japan)
+10
Choreography & Performance: Jeremy Alberge (France) Live on web:
FISSURAR www.treffpunkt-rotebuehlplatz.de
Choreography & Performance: Geovan Conceição (Brazil) www.solo-tanz-theater.de
The Essence
Choreography & Performance: Eva Urbanová (Slovakia)
05
The pluralist, ... DO
Quelques-uns le demeurent
THU
13/5, 20.00
Photo: Gilles Aguilar
Photo: Lior Skoury
Der vollständige Titel des Stückes lautet: „The pluralist, Das Stück ist inspiriert von Samuel Becketts Zitat „Wir sind
deconstructed, humorous body of her“. Angeregt vom Phä- alle verrückt geboren, manche bleiben es“. Es erforscht die
nomen der Objektifizierung des menschlichen, insbesonde- radikale Andersartigkeit, die in jedem von uns steckt. Die-
re des weiblichen Körpers wirft das Stück Fragen auf zur ser Raum mit seinem absurden und poetisch-glänzenden
Beziehung zwischen Selbstobjektifizierung und Intimität. Charme übt durch das Bild des Schwindels von Wahnsinn,
gleichzeitig des Nichts, der Leere und unerschöpflichen
The full title of the piece is „The pluralist, deconstructed, Quelle der Kreativität eine seltsame Faszination aus.
humorous body of her“. Inspired by the phenomena of ob- Ein Paradox eingraviert in einen Körper, der sich aus dem
jectification of the human body, and the feminine body in Nichts herauswindet, bevor es ihn überwältigt. In der Tiefe
particular, the piece raises questions regarding the relati- der Dunkelheit, an der Grenze zwischen Vernunft und Un-
on between self-objectification and intimacy. vernunft, entsteht Schöpfung, während der Körper kämpft.
Inspired by Beckett’s quote „We are all born crazy, some
Smadar Goshen (Israel) remain so”, the piece explores a radical otherness, that
• Trained at Jerusalem Academy of Music and dance which is in each of us. This room, with its obscure and
• 2018 - 2019 Gaga teachers training program, trained under Ohad Naharin, luminously poetic charm exerts a strange fascination
Suzanne Dellal, Tel-Aviv through the image of the vertigo of madness, at the same
• 2009 - 2011 Dancer and 2012 choreographer at dance ensemble of time nothingness, emptiness and immeasurable source
Jerusalem Academy of Music and dance
• 2015 Beijing Choreography competition
of creation. Paradox inscribed in a body which extricates
itself from nothingness before being overtaken by it. In the
Choreography & Performance: Alexandre Fandard
• 2017 „Mama“ Choreography and dance for the JAMD
• 2018 „Deception“ Choreography and dance for residency program depth of darkness, on the border between reason and un-
Music: Sérénade - Cold Song - création sonore
Art accelerator Bulgaria-Israel reason, while the body struggles, creation is born.
• 2020 „Peninsula Flora“ Choreography and dance, HuMBASE, Stuttgart
Alexandre Fandard (France)
Selina Koch (Germany)
Choreography: Smadar Goshen
• Visual artist and choreographer
Music: Fourtet / Emily Loizeau
• Studied at the Centre of Contemporary Dance, Cologne, and the • Trained at International Dance Academy in Paris
National Academy of the Arts, Oslo, and graduated 2019
Performance: Selina Koch
• Performer in „Exhibit b” of theatre director Brett Bailey for three years,
• Worked with choreographers and artists such as Katja Erdmann-Rajski, while continuing his work as a painter
Goncalo Crunzinha, Livia Rita and the Avantgarderners Collective • Performer for La Cie de Soi by choreographer Redouhanne El Meddeb
• Working with Smadar Goshen since April 2020 and performs in her in the creation „Heroes“ (Prélude)
creations „Peninsula Flora“ and „Rocking women like rocks“ • 2017 Becomes a resident at Centquatre-Paris, where he will create
his first solo „quelques-uns le demeurent“, awarded three times in
France and abroad
• Since 2019 performing in the new 2020 creation
by Olivier de Sagazan
07
Overwhelmed DO
Weary Blues
THU
13/5,
12/3, 20.00
20.00
Photo: Giulia Furlani photography
Photo: Sacha Grootjans
„Wir sind die ganze Zeit gelaufen, früher bombardiert von Das Stück geht der Frage nach, wie unterschiedliche Ska-
unaufhörlichen Reizen, len der Körperlichkeit unterschiedliche Auswirkungen auf
Roboterkünstler einer Multitasking-Gesellschaft. Bewegung haben. Welcher Input, welche Art der Intention
Ein Leben voller Raserei, das in der heutigen Gefangen- ist notwendig, um Schritte oder Schrittmuster aus sich
schaft Befreiung findet. selbst entstehen zu lassen? Wie erwächst aus diesem An-
Eine „Ohrfeige“, die uns erstarren lässt und gleichzeitig satz natürlicherweise eine eigene Physis? „Weary Blues”
aufrüttelt und uns die Chance gibt, von vorne zu begin- fragt zunächst, wo die Trennlinie liegt zwischen Improvi-
nen.“ sation und Choreografie, und schlägt ein Ergebnis vor, das
sich von jeglichen Definitionen befreit.
„We used to run all the time,
The piece investigates how different scales of physica-
bombarded by incessant stimuli,
lity have different impacts on movements. What input,
Robotic performers of a multitask society.
what kind of intention is necessary in order to let steps
Music: Shrine Tooth by Forest Swords, OCT (Origin 2004) by Solar Fields
A life of frenzy that is freed today in captivity
or step patterns emerge from themselves? How does this
A „slap“ that immobilizes us and at the same time shakes
approach naturally lead to an individual physique? Initially
Music: Madeleine Peyroux, „Sorry About the Carpet” – Agar Agar
us and gives us a chance to start over.“
wondering where lies the line between improvisation and
choreography, „Weary Blues“ suggests a result that‘s free
of definition
Giulia Menti (Italy)
• Studied as a freelance around Europe (Marameo, Tanzfabrik,
Choreography & Performance: Jonathan Reimann
Landerer & Co, Danseatelier etc) Jonathan Reimann (Germany)
• Teacher, freelance dancer and choreographer, selected in many inter-
national festivals such as Jerusalem International Choreography • Trained at Hamburg Ballet School, Palucca School Dresden and finished
competition (3prize choreography), Solocoreografico,Solo Contempo- his studies at Arts Umbrella, Vancouver
rary Dance Cagdas, TanzOFFensive, PRISMAPanama, etc. • Professional experiences at NDT summer intensive, Aalto Ballet
• Manager of Esklan direct by E. Silgoner and distributor for Theater, projects among others with Jone San Martin
DANCEHAUSpiù, director of Sinedomo Dance District with L. Tonin and • Created own choreographic works, among others for the Arts Umbrella
Performance: Gloria Gastaldon
E. Zanrosso Apprentice Company
• Since 2020 Guest teacher at Tanzhaus NRW
Choreography: Giulia Menti
• Awarded with scholarships from „Studienstiftung des Deutschen
Volkes“ as well as from „Konrad-Adenauer-Stiftung“
Gloria Gastaldon (Italy)
• Won the 1st prize at „Tanzolymp Berlin“ in the category ‚Contemporary‘.
• Studied as a freelance in Italy and abroad (CSC Bassano, Sinedomo,
Balletto di Roma, Chassé Dance Studio, Balletto di Toscana, AED
Livorno, etc.)
• Constantly weekly follow workshops and masterclasses of advanced
level in Europe, with both emerging artists and choreographers
of international fame
09
I need to ... DO
IVAR
THU
13/5, 20.00
Photo: Guido Bosua
Photo:
Die Zeit macht uns besessen, versetzt uns in Schrecken, „Wir sehen einen Menschen namens Ivar auf einer Reise.
macht uns Schuldgefühle und provoziert ein Gefühl der Die Zeit vergeht, während er sich langsam hinter seiner
Dringlichkeit. Wir wollen die Zeit immer wieder optimal Gruppe herschleppt. Voller Wut und Enttäuschung erreicht
nutzen, bis wir zufrieden sind, und dann, hungrig nach dem er endlich das Rudel. Es ist die ultimative Befriedigung,
Besten, wiederholen wir dieses Muster auf unbestimmte diesen Punkt zu erreichen. Als er nach vorne blickt, sieht
Zeit. Wir sind in einem Wettlauf gegen die Zeit gefangen, er eine Lichtung ... einen Pfad ... irgendwo hin, noch nicht
in dem wir uns verausgaben. Wir hören nicht auf zu versu- definiert ...““
chen, der Zeit Herr zu werden, aber das ist nur eine Illu-
sion. Man muss ein idealisiertes Selbstbild bewahren, bis „We see a character named Ivar on a journey. Time pas-
zu dem Punkt, an dem man den eigenen Wert und Reich- ses, dragging ever so slowly behind the group. Filled with
tum zugunsten der Arbeit ignoriert. rage and disappointment, he eventually reaches the pack.
It is the ultimate satisfaction to finally reach this point. As
Time obsesses us, terrifies us, makes us feel guilty and he looks ahead, he sees a clearing.... a pathway...to some-
provokes a sense of urgency. We want to make the most of where, not yet defined…“
this time again and again, until we are satisfied, and then,
hungry for the best, we repeat this pattern indefinitely. We
are trapped in a race against time, in which we exhaust Gonçalo Reis (Portugal)
ourselves. We never stop trying to master time, to control
• Studied at Codarts Rotterdam, where he danced in creations by the
it, but this is only an illusion. One must maintain an idea-
choreographers Hofesh Shechter, Marco Goecke, Cayetano Soto,
lized image of oneself, to the point of ignoring one‘s own Jirí Kylian and Stephen Shrosphire
Choreography & Performance: Clémence Juglet
Music: „Tuesday / Wednesday“ by Robin Betelu
value and wealth in favour of work. • 2017 Participation at 21. Internationales Solo-Tanz-Theater Festival
Choreography & Performance: Gonçalo Reis
Stuttgart with his creation „Who I am is not…”
• 2019/2020 Part of Tanz Luzerner Theater, where he work with
Music: „Algir - Tognatale“ by Wardruna
choreographers such as Gustavo R. Sansano, Kinsun Chan, Ella
Clémence Juglet (France) Rothschild, Caroline Finn, Jasmine Morand and Michael Langeneckert
• Currently working as a freelance dancer, choreographer and teacher
• Trained at Espace Pléiade professional dance school in Paris, within
Sabrina Lonis‘s dance classes and at Steps in New-York
• 2015 Dancer in the movie „La danseuse“ with Soko and Lily-Rose Depp
• Danced for various companies such as Cie 131 of Katia Lharaig, Cie LA
of Lotte de Weert, Cie Anybody of Karim Naar and the collectif
Ongaeshi
• 2018 Choreographed her first solo „The Other“ and performed it in
several competitions and festivals in France and abroad
• 2019 Joins ElectroStreet. She co-choreographs „Pardon!“ with her
stage partner Emilie Joneau. The Cie OUPS is founded
• 2020 Choreographed her new solo „I need to...“ with Robin Betelu
11There is somethin wrong in my head (?) FR
Single
FRI
14/5, 20.00
Photo: Alex L. Gulino
Photo: Diego Pérez
Freely inspired by the poetry of Edith Södergran In der Musik ist eine Single ein Vinylformat, das für den
„A neutral thing“ kommerziellen Vertrieb verwendet wird und den oder die
I’m not a woman. I’m a neutral thing. Hits einer LP enthält. Diese Singularität wurde betont und
I am a child, a pageboy and a bold decision, der Begriff als persönliches „Schaufenster“ eingeführt,
am a ray of sunshine laughing scarlet. das die Individualität im Mainstream hervorhebt. Wir
I am a fishing net for all the voracious fish, haben uns an die Verbindung von Erfolg oder Leistung
I am a glass in honor of all women, mit Individualität gewöhnt und uns in einer Entwicklung
I am a step towards the case and ruin, etabliert, die aus der persönlichen Suche hervorgeht. Im
am a leap in freedom and self. Moment sind wir von Menschen umgeben, aber sind wir
I’m the whisper of the blood, in the ear of man, nicht allein?
Music: „Trapperfly“ (Madam Butterfly Remix) by Toromecánico and Casasnovas
I am a fever of the soul, the flesh desire and rejection,
I am a nameplate at the entrance to new havens. In music, a single is a vinyl format used for commercial
I am a flame, looking lively, distribution, that contained the hit song or songs from an
I am water, bases, but bold to the knee, LP. That singularity has been emphasized and the term has
I am fire and water into loyal relationship, and without been established as a personal showcase, highlighting
conditions. individuality in the mainstream. We have gotten used to
the association of success or achievement with individu-
ality, establishing ourselves in a development that arises
Melissa Zuccalà (Italy) from the personal and the own search. Right now we are
surrounded by people, but aren‘t we alone?
• 2017 + 2018 Directed the contemporary dance department of the PAS
performing arts studios in Piazza Armerina
• 2017 Founded SBAM dance connection
• Since 2019 freelance contemporary dance teacher and choreographer
Arnau Pérez de la Fuente (Spain)
Choreography: Arnau Pérez de la Fuente
for advanced courses and professional training centers
• Director of his own dance project based in Madrid
• Won numerous awards and honors for choreography
• Selected by the Acieloabierto net in 2018 and 2020. His works have been
• 2020 Debut with the new production „WATERPROOF“ at the Garibaldi
Performance: Benedetta Cannolo
danced in countries such as Costa Rica, United States, Italy, Germany
Performance: Christian Leveque
Choreography: Melissa Zuccalà
Theater in Enna. Joined the CRESCO project (coordination platform of
and around the whole Spanish country
the realities of the contemporary scene). In October 2020 the new
• 2019 Resident at the Canal Choreographic Center
creation „Chicken soup for the soul“ is selected for an artistic redidenza
• 2020-2021 Conde Duque Contemporary Ats Center, Estruch creation
with final performance at the Siena Ballet
factory, SIT Gran Canarias, Choreographic Center of La Gomera
Music: Biosphere
Benedetta Cannolo (Italy)
• Since 2018 soloist at SBAM dance connection
• 2019 Winner of the SICILY international competition in Caltanissetta
• 2018 Finalist of the „Italy Dance Award“ competition in Rome
• 2017 Winner of the „Grand Prix“ competition in Rome
13A Flash of Oblivion FR
+10
FRI
Photo: De Schaapjesfabriek (20) - Tessa Veldhorst
14/5, 20.00
Photo: Gilles Aguilar
Der menschliche Verstand ist sehr komplex. So komplex, Was behalten wir von jemandem, der uns verlassen hat?
dass wir die Fähigkeit besitzen, uns in der Zukunft zu sehen, Jede Trennung hinterlässt eine Narbe. Aber was bleibt
weshalb wir heute für ein besseres Morgen handeln kön- wirklich über all die Jahre? Wie kann etwas wie Verlust,
nen. Gleichzeitig macht uns das Sorgen und Schuldgefühle dessen Existenz universell anerkannt ist, sich so isolierend
und es fällt uns schwerer, im Moment zu leben. Was wäre, anfühlen? „+10“ ist eine Selbsterforschung der letzten
wenn wir die Komplexität unseres Verstandes vereinfachen zehn Jahre von Jeremy Alberges Leben, beginnend mit
könnten? Wir kommen an einen friedlichen Ort, wo wir in un- dem Tod seines Vaters. Die Aufarbeitung war anfangs mit
serer Umgebung aufgehen. Wir verlieren das Bewusstsein den emotionalen Schwierigkeiten konfrontiert, einen ein-
unseres Selbsts, wie ein Baum, der sich seiner Wurzeln und schneidenden Übergang im Leben zu akzeptieren, denen
Zweige nicht bewusst ist. Alles läuft flüssig und nichts geht zuletzt ein Weg hin zu Akzeptanz und Sublimierung folgte.
schief, wenn es kein „Versagen“ gibt. Es gibt nur Zeit und
Raum, aber gibt es ‚uns‘ immer noch? What do we keep from someone that has left us? Any
separation leaves a scar, but what really stays with us
Human mind is so complex. It is so complex that we’ve got through the years? How can something like loss, which is
the ability to project ourselves in the future, which enables universally acknowledged, still feel so isolating?
us to act now for the better future. But simultaneously „+10” is a exploration of the past ten years of Jeremy’s life
that’s what makes us worry, hesitate and regret, and ma- followed by the loss of his father. The research has been
kes it harder for us to live in the moment. facing an emotional struggle at first, to accept and process
What if we could degrade the complexity of our mind? We a significant passage in life, which followed most recently
arrive to a peaceful place where we melt into the surroun- by a journey on acceptation and sublimation.
Music: The Black Dog, Diggs Duke, Susumu Yokota
ding, and disappear. We lose the sense of self, like a tree
Choreography & Performance: Jeremy Alberge
doesn‘t recognize its roots and branches. Everything flows
Choreography & Performance: Reiko Ohta
and nothing fails, when ‘failure’ doesn‘t even exist. There
Jeremy Alberge (France/Israel)
is only time and space, but is there still ‘us’?
• 2010 Joined Blanca Li Dance Company for two seasons
• 2013 - 2015 Joined the Junior Ballet Geneva and worked with
Music: Ludwig van Beethoven
choreographers such as Hofesh Shechter, Osnat Kelner, Wayne
Reiko Ohta (Japan) McGregor, Barak Marshall, Roy Assaf, Cindy Van Acker and Stijn Celis
• 2015 - 2017 Danced with Inbal Pinto & Avshalom Pollak Dance
• 2015 Studied at Royal Swedish Ballet School
Company in Israel
• 2016 Entered Codarts Rotterdam
• 2017 Vertigo Dance Company, two years on a full contract and
• Took part in an international tour and danced in pieces by Cayetano
free-lancing since then
Soto, Marco Goecke and Hofesh Shechter
• Since May 2019 Joined Roy Assaf Dance and performed the works
• 2015 and 2018 Participation in the summer intensive by Nederlands Dans
„The Hill“ and „Boys“ in several countries
Theater, where she worked with Jirí Pokorny and Dimo Milev for their
• Since June 2020 Performed Adi Boutrous new creation
new creations
„One More Thing“
• Completed her internship with Scapino Ballet Rotterdam and now is
fresh graduated
• Work as a teacher among others in China, The United
States, Canada, France, Russia, Italy and Israel 15FISSURAR FR
The Essence
FRI
14/5, 20.00
Photo: Geovan Conceição
Photo: Petr Kiška
„Ich wollte ein Stück schaffen, das die Erfahrungen auf- Made from the playfulness and from the dirt
zeigt, die ich in meiner Kindheit im „Citex Slum“ im nord- Made from the sparkles and the thorns
östlichen brasilianischen João Pessoa in Paraíba gemacht Made from the fear and from the madness
habe. Die Choreografie ist beeinflusst von Gewalt, Mord Made from the speed and elegant wilderness
und physischem und psychischem Missbrauch, insbeson- Made from the pride and stubborn choices
dere gegenüber Frauen und Kindern. Ich war umgeben von
Alkoholikern, Süchtigen und Drogenhändlern. Ich habe Made from the sticky gelatin and pink roses and dark mo-
überall Angst, Hunger, Schutzlosigkeit, Verlassenheit, ments and creepy faces and
Armut, Krankheit und Wahnsinn erlebt und gesehen. jumping…
Dieses Werk ist entstanden, um anderen die schreckliche
Realität zu zeigen, der ich, wie viele junge Brasilianer, be- Made from the courage and ease to fall in love
gegnet bin. Wir haben das Recht auf ein gutes Leben.“
But they wanted to change me
„I wanted to create a piece that addresses the experien- They wanted to break me and burn me
ces I had during my childhood in the ‘Citex slum’ located in But I said no and started to shake me
the Northeastern Brazilian city of João Pessoa, Paraíba. And danced in my own way
The choreography is inspired by violence, homicides, and
Choreography & Performance: Geovan Conceição (Brazil)
physical and psychological abuse especially towards wo- And then I came here
men and children. I was surrounded by alcoholics, addicts, I came here to find my own essence again
Music: „The Garden - Lorn & Dolor“ by Lorn & Dolor
and drug trafficking. I experienced and saw fear, hunger,
lack of protection, abandonment, poverty, disease and
madness everywhere. This work was created to show Eva Urbanová (Slovakia)
Choreography & Performance: Eva Urbanová
others the terrible reality I faced along with many other
• Started her dance career as a member of the professional acrobatics
young Brazilians. We can have the right to a good life.“
group Axel Artist
• 2014 - 2020 Studied for a bachelor and master degree in choreography
at the Academy of Performing Arts, Prague.
Geovan Conceição (Brazil) • Spent an exchange year at the Trinity Laban Conservatoire of Music
and Dance, London
Music: „Vera“ by Aid Kid
• Started his dance career at Bolshoi Theater School in Brazil and worked • Working alongside Japanese choreographer Yukio Suzuki, Slovak
with famous dancers Vladimir Vasiliev and Ekaterina Maximova choreographer Petra Fornayová and among others
• Danced with with Russian Bolshoi Stars Ivan Vasiliev and Natalia • Cooperated as a choreographer with the Dance Conservatoire Prague,
Osipova in Joinville - SC Janacek Conservatory in Ostrava and junior dance company Bohemia
• Danced in „Don Quixote“, „Prince Igor“ and „Giselle“ Balet
• Works as a teacher at the Theatro Santa Roza • 2019 Eva was chosen as a young choreographer to create for the
• Joined the Marist Center of Art and Culture and the State Center of Art Central European Dance Theatre
• 2014 - 2019 Attended the higher education course in dance at the • Her work „Women of dust“ was chosen to be presented
Federal University of Paraíba and started researching contemporary
dance
at the Mala Inventura festival 2020
17the EQ of the heart SA
Bunker
SAT
15/5, 20.00
Photo: Dustin August
Photo: Chris Randall
„the EQ of the heart“ (emotionale Intelligenz) ist ein Solo, „Gedächtnis durch den Körper und Generationen erfahren:
das auf die Reichweite des Herzens als Muskelorgan hört. Dieses Solo wurde von meinen Archivrecherchen über
Dieses Organ ist der Ort, der für die Verstärkung unserer die Frauen beeinflusst, die von 1899 bis 1950 in der 92nd
Gefühle als Reaktion auf Reize oder Situationen verant- Y Residenz und im Clara de Hirsch-Heim für berufstätige
wortlich ist. Wenn wir auf unser Herz hören, kann uns das Mädchen in New York City wohnten. Das Solo verkörpert
zur Entdeckung des Potenzials führen, das in uns liegt, und visualisiert Erinnerungen an diese Frauen sowie meine
während wir auch anerkennen müssen, dass die emotiona- eigenen Erinnerungen.“
le Intelligenz sehr sensibel und eine weite Landschaft ist,
die alles um uns herum umfasst. „Memory experienced through the body and generations;
this solo was influenced by my archival research on the
„the EQ of the heart“ (emotional intelligence) is a mo- women who resided at the 92nd Y Residence and The Clara
vement solo which listens to the range of the heart as a de Hirsch home for Working Girls from 1899-1950 in New
muscular organ. The organ being the place which is res- York City. „Bunker“ embodies and visualizes memories of
ponsible for the amplification of our feelings in response to these women, as well as my own.“
stimulus or situations. Listening to the heart can guide one
to the discovery of the potential that lies within oneself
while acknowledging that the emotional intelligence is Rebecca Margolick (Canada)
Music: Varg, Krtm, Wolfgang Amadeus Mozart, London Phil-
very sensitive and a vast landscape which encompasses
• Dancer and choreographer based in Brooklyn NY
everything around us.
• Trained at Arts Umbrella in Vancouver and graduated from New York
harmonic Orchestra, Franz Welser-Möst and Bvdub
Choreography & Performance: Rebecca Margolick
University, Tisch School of the Arts, with a BFA in Dance
Choreography & Performance: Tushrik Fredericks
• Her multi-disciplinary and solo works have been presented in Poland,
Tushrik Fredericks (South Africa) Bulgaria, Israel, Seattle, San Diego, Montreal, Vancouver, Wells BC,
Mexico City and NYC
• 2015 Graduated at Peridance Capezio Center Certificate Program in NYC • Currently working with Kayla Farrish’s Decent Structures Arts
where he received most of his formal training • 2020 New Directions Choreography Lab Fellowship at the Ailey School
• 2015 - 2018 Worked with Ate9 dANCEcOMPANY and Sidra Bell Dance and artist in residence at the Dance Deck in Vancouver
Music: „All Melody“ by Nils Frahm
New York • 2019 Her solo „Bunker + Vault“ won the Jury Prize for “Best indoor
• 2016 - 2018 Assistant lecturer to Sidra Bell at The University of the Arts choreographic work” at Festival Quartiers Danse in Montreal
Philadelphia for Sophomore students • 2019 Dance Artist in Residence at The Banff Centre for the Arts
• Currently working with TRIBE (artistic director/founder Shamel Pitts) • 2012 - 2016 Danced with Sidra Bell Dance New York
• Currently a member of Chuck Wilt’s UNA Productions
• As a freelance dancer she has worked with a number of artists
including Kayla Farrish, Allen Kaeja, Patricia Norowol, Jerome Bel,
Derrick Belcham, Emily Terndrup, Maya Orchin, Shay Kuebler,
Donald Sales and Barak Marshall
19CRUDA SA
Legaxy xx
SAT
15/5, 20.00
Photo: Nnamdi Christopher Nwagwu
Photo: Jasmine Ellis Projects
„CRUDA ist eine Reise zu meinem afrikanischen „Legaxy xx“ ist eine multimediale Tanztheaterarbeit, die
Ursprung, ausgehend vom spirituellen Gebet, einem durch das angeborene Geschlecht entstandene Verwick-
Gespräch mit meinem inneren Selbst, das die westliche lungen entwirren möchte. Die Performance fädelt sich
Welt durchquert, die mich immer von meinen Wurzeln ent- durch den kollektiven Real-Mythos des „Thronfolgers“
fernt hat. Die Art der Bewegung ist von den Worten meiner und die Auswirkung, die diese Geschichten auf junge Men-
Mutter inspiriert: Wir müssen unsere Herkunft kennen, um schen haben, die sich als weiblich identifizieren.
der Zukunft besser begegnen zu können.“ „Legaxy xx“ bietet alternative Realitäten der Erziehung,
die Qual, sich in seinen Kindern zu sehen, und das Grauen,
„CRUDA is a journey towards African origins which ap- ein Kind zu begraben. Diese Arbeit hinterfragt unser kol-
pertain to me, starting from the spiritual prayer, a conver- lektives Erbe. In welche Art von Gewalt gebären wir unse-
sation between my inner self crossing the western reality re Kinder? Rechnen Sie mit der Groteske der Kindkönige.
which has always distanced me from my roots. The quality Dies ist für die Mädchen, die als Könige geboren wurden.
of the movement is inspired by the words of my mother. We
need to know our origins to face better the future.“
Music: Afro Celt Sound System & Dorothee Munyaneza, Desh, El Fog
„Legaxy xx“ is a multimedia dance theater work which
unravels the implications of the inheritance of gender. The
performance weaves through the collective reali-myth of the
Choreography & Performance: Nnamdi Christopher Nwagwu
Nnamdi Christopher Nwagwu (Italy/Nigeria)
„heir to the throne” and the impact that these stories have on
• Started training in a monthly program with the company „Kaos Balletto young femme identifying people. „Legaxy xx“ offers alter-
di Firenze” in Florence native realities of parenting, the torment of seeing yourself
• Currently studiing at „Professione Danza Parma”, where had the chance in your children, and the horror of burying a child. This work
Choreography & Performance: Breeanne Saxton
to perform in several competitions and festivals around the world
(among others Yagp, Tanzolymp, International summer galá, Livorno-
questions our collective legacy. Into what kind of violence are
festival, Italian dance award) we birthing our babies? Reckon with the grotesqueness of
• 2018 Attended the summer program of the Alvin Ailey American Dance child royalty. This is for the girls who were born to be kings.
Theater in New York and performed the repertoire as a Solist
• Started to create own choreographies because he want to give a voice
of his mind Breeanne Saxton (USA)
• Winner of The Youth American Grand Prix and as a choreographer
winner of „YAGP Oustanding choreographer Award” • Bachelor of Fine Arts in modern dance from the University of Utah in
Music: Breeanne Saxton
• 2019 His choreography Labels won ad best choreography at Livorno Salt Lake City, USA
Festival • A Berlin based physical artist and teacher whose work seeks to make
the theatrical physical while incorporating a variety of mediums
• 2019 European choreographic debut at the Art Lake festival with
sci-fi evening length work „ACKNO“
• Over the last five years produced six individual solo performances
which were performed around the USA
• Worked as a dancer among others with Ririe Woodbury
Dance Company, Alberto Del Saz of the Murray-Louis
Foundation, Steve Koester, Tzveta Kasabova 21It Waits for no one SA
The Tension of Nature
SAT
15/5, 20.00
Photo: Bassam Alzoghby
Photo: Mike Esperanza
„Ich habe so lange gewartet. Er ist immer an mir vorbei „The Tension of Nature“ stellt unnachgiebige Spannungen
gezogen, als ich auf den richtigen Moment gewartet habe. als eine Naturgewalt in uns dar, die uns dazu antreibt, uns
Einmal kam dieser Moment, aber es war bereits zu spät. Da andauernd zu bewegen und uns aufzeigt, dass wir uns
realisierte ich, dass er auf niemanden wartet“ nicht selbst entkommen können. In dem Stück wird Span-
nung als Angst verkörpert, die zugleich auch eine Faszina-
„I have waited so long. It‘s always past me waiting for the tion ausübt. Der Punkt, an dem Spannung für uns schwer
right moment. That moment came once, but it was already erträglich wird, ist gleichzeitig die Verbindung zu unserer
too late. There I realized that it wasn‘t waiting for anyone.“ leidenschaftlichen und nie endenden Liebe zum Erschaf-
fen, Ergründen und der Suche nach Neuem.
„The Tension of Nature” is a solo performance depicting
Abdelrahman Ahmed (Egypt)
relentless tension as a vigorous force of nature within
• 2019 Graduated from MAAT|CCDC Cairo Contemporary Dance School, us that pushes us to continue moving, and shows us that
• 2019 Choreographed and performed a solo dance performance called there is no escape from ourselves. In this work, tension is
„It waits for no one” embodied as an anxiety, and at the same time, a fascina-
• 2019 Performed in „We are coming back after everybody”, choreo-
tion. The point of tension at which we struggle is also our
Music: Ólafur Arnalds & Nils Frahm, Tim Hecker, Gidon Kremer
graphed by Amina Abouelghar, „Hoop-om-on-ay”, choreographed by
Nicolas Cantillon, and „Troubled Butterflies”, choreographed by Islam connection to our impulsive and undying love for creating,
Elnebishy understanding, and seeking novelty.
• 2018 Performed in „Fluttering”, choreographed by Ibrahim Abdo
Choreography & Performance: Abdelrahman Ahmed
Andrea Ward (USA)
Choreography & Performance: Andrea Ward
• A contemporary choreographer from New York City
Music: „Drawing“ by Tomasz Bednarczyk
• Before Covid-19, she had produced an evening length debut and
planned to teach dance workshops throughout Europe
• Teaches at the Hub Studios London
• Performed as a featured artist in TEDx at the Phillips Center and as a
resident choreographer at the Center for World Arts in Florida, where
she presented works on the Syrian Refugee crisis, Environmentalism,
Genderism, and Native American heritage
• Works for the Columbia Ballet Collaborative at Columbia University,
and for LEON Dance Arts in Houston, where her work premiered in
the prelude for Alvin Ailey.
• Composes her own music and is currently recording her album titled
„Planet”
• Her underwater dance film „World of Forms” has screened in New York,
Paris, London and Sweden
23Jury 25 Years International Solo-
An independent jury, representing a variety of dance gen-
Dance-Theatre Festival
res, will judge the dance proficiency, musical and dramatic
composition, the style and the creative potential. Stuttgart
Can Arslan (Germany/Turkey) An interactive brochure will be published for the anniver-
Ballet director and choreograph Nordharzer Städtebund sary festival, in which those interested in dancing can take
Theater a look behind the scenes and experience firsthand how
former award winners experienced the festival and what
Cristina Castro (Brazil) the prize has achieved for their dance careers.
Choreographer, director and artistic director
Vivadança lnternational Festival
Iván Pérez (Spain)
Artistic director of Dance Theatre Heidelberg
Ahmed Soura (Burkina Faso) choreography 35 –
Choreographer, artist and director YONGONLON International Choreographic Competition
Hannover, 2. and 3. July 2021
Noa Wertheim (Israel)
Artistic director Vertigo Dance Campany For the 35th time, the International Choreographic Com-
petition Hannover, Europe‘s most important platform for
young choreographic talent, invites you to Hannover.
The competition has developed into the center for young
choreographers worldwide.
Preise / Awards During these two days, Hannover will become a meeting
place for an internationally forward-looking dance scene.
Every year, more than 300 choreographers from over 50
Choreography sponsored by
countries apply. 20 entries will be invited to the competi-
1st prize EUR 3.500 Ministerium für Wissen-
tion and thus more than 100 young dancers from all over
2nd prize EUR 2.500 schaft, Forschung und
the world will travel to Hannover to present their works to
3rd prize EUR 1.500 Kunst Baden-Württemberg
both a curious audience and the top-class jury.
Performance sponsored by Current information: www.choreography-hannover.de
1st prize EUR 3.500 City of Stuttgart
2nd prize EUR 2.500 Stiftung Landesbank
Baden-Württemberg
3rd prize EUR 1.500 City of Stuttgart
Public‘s First Choice Award sponsored by
EUR 500 Nicole Weyandt, Michael Deiml
Public‘s Final Choice Award sponsored by
EUR 500 Christine Gugel
Residence Prize Nordharzer Städtebund Theater
Assistance Prize Dance Theatre Heidelberg
25Ausstellung / Exhibition
„Solo = Alleine“
Tanzfotografien von
Gerhard Bohner / photo: Gert Weigelt
Gert Weigelt
08.02. – 16.05.2021
In der Fotoausstellung des ehemaligen Tänzers und Tanz-
fotografen Gert Weigelt, der 2019 als erster Fotograf den
Deutschen Tanzpreis erhielt, geht es um den Solotanz. Bis
auf zwei Ausnahmen sind auf den Bildern Choreograf/innen
zu sehen, die ihre Soli selbst vortragen: Susanne Linke,
Gerhard Bohner, Reinhild Hoffmann, Lina do Carlo und Urs
Dietrich. Ausnahmen sind das berühmte Martha Graham
Solo (1930), interpretiert von der Tänzerin Camille Andriot,
und Hans van Manens „Solo“, dargestellt von drei Tänzern,
Martha Graham / photo: Gert Weigelt
die das Solo unter sich aufteilen.
„Auch wenn durch die Coronakrise immer mehr Choreograf/
innen (nolens volens) gedrängt werden, für Mini-Besetzun-
gen zu choreografieren, bleibt das getanzte Solo eine
Königsdisziplin im Tanz. Selbst für die Besten eine große
Herausforderung“, so Gert Weigelt.
The photo exhibition of former dancer and dance-photo-
grapher Gert Weigelt, who in 2019 was the first photogra-
pher to receive the German dance award, revolves around
solo dance. Baring two exceptions we see choreographers
who present their own solos, such as Susanne Linke,
Gerhard Bohner, Reinhild Hoffmann, Lina do Carlo und Urs
Dietrich. An exception is the famous Martha Graham solo
(1930), interpreted by the dancer Camille Andriot; another
is Hans van Manens „Solo”, performed by three dancers
dividing the solo between them.
„Even if more and more choreographers are being urged
Susanne Linke / photo: Gert Weigelt
(willy-nilly) to choreograph for mini-casts due to the
corona crisis, the danced solo remains a supreme
discipline in dance. A great challenge even for the best“,
says Gert Weigelt.
Ausstellung im Foyer Robert-Bosch-Saal, 1. OG
27Thanks to our sponsors
Christine Gugel, Nicole Weyandt, Michael Deiml
Festivalpartner
MÄHYRRÄ © Yakup Zeyrek
Impr es sum / C r edi t s
Dennis Eliseev, Jutta Kögel
Ausstellung / Exhibition Katharina Früh
Redaktion / Editorial staff Nicola Schwarz
Tin Yeung Huen
Jo Grabowski
PRODUKTIONEN / PROJEKTE / ENSEMBLES
KURSE / WORKSHOPS / FORTBILDUNGEN
BÜRGERTHEATER
Tanz- und Theaterwerkstatt e.V. im Kunstzentrum Karlskaserne Ludwigsburg
www.tanzundtheaterwerkstatt.de
2902
Liebe Festival- MITTWOCH 12/5, 20.00
Gäste, / Dear WEDNESDAY
Festival Guests, Isabell Ohst
SHUNYA SMARA - Leere Sehnsucht
Choreography & Performance: Katrin Zimmermann
Produktionszentrum
Tanz und Performance e.V. SOLILOQUE DANSÉ
Choreography & Performance: Yahi Nestor Gahé
im letzten Jahr wurde das Inter- Last year, the ISTT was expanded
nationale Solo-Tanz-Theater by the Stuttgart-Day „Stuttgart Unknown Mist
Festival um den Stuttgart-Tag Solo Choreo”. The event allows Choreography & Performance: Petra Stransky
Stuttgart Solo Choreo erweitert. you to discover new regional Show Business - On the showing of business and
Diese Veranstaltung ermöglicht talents from Stuttgart’s dance the business of showing
es Ihnen, neue Talente der scene, who have a permanent re- Choreography: Catherine Guerin
regionalen Stuttgarter Tanzszene sidency here and who, aside from Performance: Pascal Sangl
zu entdecken, die dauerhaft vor the festival, regularly perform on
Ort sind und auch außerhalb des the city’s stages. The pieces you LEbensSpiel - Choose your juice
Festivals auf den Bühnen der can see on that day run outside Choreography & Performance: Marleen Streicher
Stadt auftreten. Die Stücke, die of competition and are not being
Sie an diesem Tag sehen, laufen awarded. Um pouco mais de amor - Ein bisschen mehr Liebe
außer Konkurrenz des Wettbe- Choreography & Performance: Gonçalo Cruzinha
werbs und werden nicht prämiert. I am delighted that, this year,
the independent dance scene in
Ich freue mich, dass die Stuttgar- Stuttgart is again given its own TREFFPUNKT Rotebühlplatz
ter Freie Tanzszene mit diesem platform, where it can demons- Rotebühlplatz 28, 70173 Stuttgart
Format auch in diesem Jahr ein trate its strength and diversity. Ticket prices: EUR 16,- / 12,-
eigenes Podium bekommt, auf We owe this event to TANZPAKT www.produktionszentrum.de
dem sie ihre ganze Stärke und Stuttgart, an alliance of six part- Booking office: 0711/1873-800
Vielfalt präsentieren kann. Zu ners, which are being funded by
verdanken haben wir die Veran- TANZPAKT Stadt-Land-Bund with Kuratoren/Curators: Isabell Ohst, Marcelo Santos,
staltung TANZPAKT Stuttgart, funds from the Federal Covern- Gudrun Hähnel, Petra Mostbacher-Dix, Birgit Brinkmann
einem Zusammenschluss von ment Commissioner for Culture
insgesamt sechs Bündnispartner/ and Media, special program NEU- Moderation/MC: Petra Mostbacher-Dix
innen, die durch TANZPAKT START and the State Capital of
Stadt-Land-Bund aus Mitteln der Stuttgart.
Beauftragten der Bundesregie-
rung für Kultur und Medien sowie
I thank all patrons, especially
Marcelo Santos and Gudrun
Thanks to our sponsors
dem Sonderprogramm NEUSTART Hähnel, who represent the Inter- Gefördert von TANZPAKT Stadt-Land-Bund aus Mitteln der Beauftragten der Bundesregierung für Kultur und
KULTUR und der Landeshaupt- national Solo-Dance-Theater Fes- Medien sowie dem Sonderprogramm „NEUSTAR KULTUR“ (BKM) und der Landeshauptstadt Stuttgart.
stadt Stuttgart gefördert werden. tival Stuttgart and look forward
Ich danke allen Förderern, ins- to an exciting festival night – this
besondere Marcelo Santos und year hopefully ‘live’ at long last.
Gudrun Hähnel stellvertretend für
das Internationale Solo-Tanz-
Theater Festival Stuttgart, und
freue mich auf einen spannenden
Festivalabend – hoffentlich in
diesem Jahr endlich live.Shunya Smara – Leere Sehnsucht MI
SOLILOQUE DANSÉ
WED
12/5, 20.00
Photo: Dominique Brewing
Photo: Tom Pohl
Das Stück ist die Verarbeitung der Leere und der Sehnsucht. Wer bin ich? Wohin gehe ich? Und auf welche Art und
Es nimmt Bezug auf tief begründete Emotionen und den Weise tue ich das? „Soliloque dansé“ ist ein tänzerisches
Umgang damit, übertragbar auf die gesamte momentane Selbstgespräch, eine Selbstreflexion über existenzielle
Situation. Das Verlassen der Komfortzone. Ein hilfloser Zu- Themen wie Gesellschaft, Gruppen und ihren Bezug zum
stand. Dann, ein Lichtblick? Für kurze Zeit kann man spüren, Individuum. Es ist eine künstlerische und wissenschaft-
was man braucht, was einem fehlt und wonach man sich liche Recherche, die den ganzen Körper einbezieht. Wie
sehnt. Für einen kurzen Augenblick darf man es leben. Und funktioniert ein Soliloque, abgesehen vom Theater, im
dann – plötzlich ist es wieder weg. So wird das gerade noch Tanz? Welche Elemente machen diese Form des Aus-
Gelebte zu einem Schatz, den man mit sich trägt. Was tun? drucks möglich? Wie wird das Publikum in einen solchen
Festhalten? Loslassen? Leere. Aus der Leere entsteht Sehn- Monolog ohne Worte involviert?
sucht. Die Sehnsucht nach ...
Who am I? Where am I going? And in what way am I doing
The piece is the processing of the emptiness and the lon- it? „Soliloque dansé“ is a dance soliloquy, a self-reflection
Music: „Sunday“ von René Aubry & „Le Vide est ton nouveau prenom“
ging. It refers to deeply rooted emotions and how to deal on existential themes such as society, groups and their
with them, transferable to the whole momentary situation. relation to the individual. Soliloque dansé is an artistic and
Leaving the comfort zone. A helpless state. Then, a ray of scientific research, involving the whole body. In doing so,
hope? For a short time, one can feel what one needs, what the dancer asks the question of how a soliloque, apart from
one lacks and what one longs for. For a short moment you theater, works in dance. What are the elements that make
are allowed to live it, to be true. And then - suddenly it‘s this form of expression possible? How is the audience in-
gone again. So the just lived becomes a treasure that you volved in such a monologue without words?
Choreography & Performance: Katrin Zimmermann
Choreography & Performance: Yahi Nestor Gahé
carry with you. What to do? Hold on? Let go? Emptiness.
From emptiness comes longing. The longing for …
Yahi Nestor Gahé (Ivory Coast/Germany)
• Freelance dancer, choreographer and dance educator in Stuttgart
Katrin Zimmermann (Germany) and worldwide
Music: Matthias Schneider-Hollek
• Graduate of acting and dance school in Abidjan, Ivory Coast
• Focus on Ballett, Contemporary dance and Yoga • MA in Art and culture project design – Graduate of University
• 2007 certified dance pedagogue, IWANSON Munich of Strasbourg
• 2015 certified Yoga teacher, Stuttgart • Educated as dance educator at Akademie Off-Theater, Düsseldorf
• 2017 developed and now teaching her own method YOMO (Combination • Performer at Instant PIG // Stuttgart, choreographic director
of Yoga and Dance), yomo-dance.de of freie bühne Stuttgart
• Freelance dancer, performed in and around Stuttgart • Worked as a freelancer with Theater Tri-Bühne Stuttgart,
FITZ Theater, Forum Schloßpark Ludwigsburg – Rainer Kittel,
von La Femme
• 2019 developed her own short-piece „marga“ for Landesmuseum
Stuttgart Sawako Nunotani, Yolanda Gutiérres, Edith Körber,
Axel Braun, Tanzfestival Bielefeld and more
03Unknown Mist MI
Show Business
WED
12/5, 20.00
Photo: Alexander Ehhalt
Photo: Olcay
Die Komposition „Spheres VIII - Mist“ aus Ulrich Wedlichs In einer spannenden Kombination aus Bewegung, Text und
aktuellem Kompositionszyklus und das Gedicht „Mist“ von Sound bietet „Show Business” einen spielerischen Zugang
Henry David Thoreau inspirierten die Künstlerin zu diesem zu dem Ort, an dem die Show wirklich beginnt: im Home-
Solo. Office beim Ausfüllen der Antragsformulare. Im Labyrinth
der digitalen Rhetorik oszilliert der Tänzer Pascal Sangl
The composition „Spheres VIII - Mist“ from Ulrich Wed- zwischen Sinn und Unsinn und zeigt auf ironische, humor-
lich‘s current composition cycle and the poem „Mist“ by volle und poetische Weise, was sich auf dem Bürotisch
Henry David Thoreau inspired the dancer to create this alles in Bewegung bringen lässt.
solo.
In an exciting combination of movement, text and sound,
Mist by Henry David Thoreau „Show Business“ offers a playful approach to the place
where the show really begins: the home office and the
Low-anchored cloud, process of filling out application forms. In a maze of digital
Newfoundland air, rhetoric, dancer Pascal Sangl oscillates between sense
Fountain-head and source of rivers, and nonsense and shows in an ironic, humorous and poetic
Dew-cloth, dream-drapery, way what needs to be done with the task at hand.
And napkin spread by fays;
Drifting meadow of the air, Catherine Guerin (USA/Germany)
Where bloom the daisied banks and violets,
And in whose fenny labyrinth • Born in New York she has dedicated herself over the course of many
The bittern booms and heron wades; years to diverse forms of dance and theatre studies
Choreography & Performance: Petra Stransky
• Since 1990 danced in many German theatres including working as
Choreography, text & voice: Catherine Guerin
Spirit of lakes and seas and rivers, —
Music: Ulrich Wedlich „Spheres VIII - Mist“
freelance choreographer for Tanztheater Wien, Tanz Graz and
Bear only perfumes and the scent Volksoper Wien
Of healing herbs to just men‘s fields. • Certified teacher of the Feldenkrais Method®, which she incorporates
Music: Ryoji Ikeda, Asmus Tietchens
into her own style of contemporary dance technique and improvisation
Petra Stransky (Germany)
Pascal Sangl (Germany)
Performance: Pascal Sangl
• Studied dance, choreography and dance and music pedagogy at the
Kunstuniversität Mozarteum Salzburg, the Palucca Hochschule für Tanz • Freelance dancer, choreographer and cultural educator in and around
Dresden, the Faculdade Angel Vianna and the UFRJ in Rio de Janeiro Stuttgart
• Since 2003 she has realized interdisciplinary dance theater and music • 2016 BA Graduate of Amsterdam University for the arts
theater projects in Germany, Austria and Brazil • Currently a performer at Instant PIG//Stuttgart and a choreographer
• Dance, language and music in their relationship to each other and as a for Tanz in der Fläche by Tanzszene BW
personal medium of expression inspire her artistic work • Worked with freelance choreographers like Jesus de Vega/ICKamster
• She is particularly interested in improvisation as a technique, means of dam, Edan Gorlicki and Cie. Willi Dorner (a.o.) and as a guest performer
composition and stage practice at Badisches Staatstheater Karlsruhe,
Theater Bonn & Vaduz Classic Festival
05MI
Um pouco mais de amor ...
LEbensSpiel - Choose your juice
WED
12/5, 20.00
Photo: Dominique Brewing
Photo: Mehmet Vanli
Kinder spielen, um zu lernen. Ich spiele, weil ich es muss? Das Solo „Um pouco mais de amor - Ein bisschen mehr
Das Solo setzt sich mit dem Thema „Spielen“ auseinander. Liebe“ stammt von einem Langzeit Tanz-Theater Projekt
Ein Spiel beinhaltet feste Regeln, auf die sich alle Teilneh- und reflektiert die Grenzen unseres Intellekts. Wir als
mer/innen gemeinschaftlich einlassen. Auch in unserer Individuen, die mit der Unbeständigkeit unserer Begegnun-
Lebensgemeinschaft lassen wir uns freiwillig auf bestimm- gen zu tun haben, treiben uns manchmal an eine Grenze
te Regeln ein. Welche Denkansätze können wir also aus der Reflexion zwischen dem Leben und der Beziehung zu
dem Spiel mitnehmen? Wie veränderbar sind Regeln? Und unserer Gegenwart. „Um pouco mais de amor“ spricht
was passiert, wenn der/die Spieler/in nicht mehr – wie über die Gefühle, die über die Sprache und unsere Hand-
vorgesehen oder sozialisiert – mitspielt oder die Regeln lungen und Bewegungen vermittelt werden. Das Solo
ändert? Wie viel Freiheit steckt in Freiwilligkeit? Die möchte einer poetischen Position eine Stimme verleihen,
Tänzerin begibt sich auf ein Spielfeld zwischen Vorgabe die übersät ist mit Fragen, die sich auf unser maßloses
und Veränderung. Let the game begin ... Leben beziehen, das wir mit uns selbst und unserer Um-
gebung führen.
Children play in order to learn. I play because I have to?
The solo deals with the topic of „playing“. A game contains „Um pouco mais de amor – Ein bisschen mehr Liebe“
fixed rules to which all participants agree together. Also comes from a long-term dance-theatre project and reflects
in our community we voluntarily agree to certain rules. on the limits of our general intellect. We as individuals,
Which approaches can we take away from the game? How dealing with the vicissitudes of our encounters, sometimes
changeable are rules? And what happens, if the player no drive us to a limit of reflection between life and the relati-
longer plays along - as intended or socialized - or changes onship with our present. „Um pouco mais de amor“ speaks
Sounddesign: Heiko Giering, Voice: Patrik Ehinger
Choreography & Performance: Marleen Streicher
Choreography & Performance: Gonçalo Cruzinha
the rules? How much freedom is there in voluntariness? about the feelings transmitted through language and our
The dancer enters a playing field between default and actions and movements. The solo wants to give voice to a
change. Let the game begin … poetic position covered with questions related to the ex-
Editing & Composition: Marleen Streicher
cessive life in ourselves and our environment.
Marleen Streicher (Germany)
Gonçalo Cruzinha (Portugal / Germany)
• Freelance dancer, choreographer and teacher
• Currently an artistic director and dancer for the „flying notes film“ • Studied dance at the „Escola Superior de Dança“, Lisbon and at the
project//Stuttgart „Fontys Hochschule“, Tilburg, The Netherlands
• Worked with backsteinhaus produktion, Michael Douglas Kollektiv &
Music: Ranko Šajfar
• Dancer and choreographer with Bodies Anonymous, Heike Hennig,
nutrospektiv, Carina S. Clay, Reinhold Urmetzer, and with her dance Backsteinhaus Produktions, Compania Instável, Yui Kawaguchi,
collective „WeAVe“ for the Gmünder ArtFestival Ana Kubelík, Citizen Kane Kollectiv, Camp Festival, Novalis Festival,
Micha Purucker, Oximoro Dance Company, Michael Langeneckert,
Raman Zaya
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