Mit „Crush“ installiert das Tanzbüro – seit Dezember 2007 als Modul Tanzbüro im tanz_house Salzburg integriert – zusätzlich zum Projekt „Markier dein Revier“ ein neues Format. „Crush“ – ins Deutsche übersetzt der Andrang, die Quetschung, das Gedränge – soll ein kontinuierliches Forum für Salzburger ChoreographInnen wie nationale und internationale Gäste kreieren. Raum für Präsentation, Diskussion, Research, work in progress in weitgehend unkuratierter Form stehen im Zentrum. Als Projekt wird „Crush“ in unterschiedlichen Formaten und an diversen Orten durchgeführt. Es wird den KünstlerInnen die Möglichkeit gegeben, Ausschnitte ihrer Arbeiten zu zeigen und in Austausch zu treten.
Am 20. Juni wird „Crush“ das erste Mal in der ARGEkultur stattfinden. Salzburger KünstlerInnen und Gäste können ihre KollegInnen und interessiertes Publikum mit dem Stand ihrer derzeitigen Arbeiten konfrontieren und ihre tägliche Arbeit als work in progress und short cuts zeigen.
„Crush“ bedeutet hier ein aktives Treffen von KollegInnen und Gästen in einem offenem Format, die in künstlerischen Austausch und Dialog treten, abseits des Proberaums. Der Rahmen dafür wird sehr offen gehalten: Eigenständige Auswahl der Präsentationsform – von Körperstudien bis hin zu Videopräsentationen.
Das Modul Tanzbüro ist seit Dezember 2007 als neues Modul im tanz_house Salzburg integriert und stellt sich primär die Aufgabe, aktiv neue Präsentationsplattformen und Formate zu entwickeln und die Netzwerkbildung aus ChoreographInnen, PerformerInnen, OrganisatorInnen, TheoretikerInnen – sowohl aus der Region wie auch aus dem In- und Ausland – zu fördern.
Für Detailinformationen den Namen der/s KünstlerIn anklicken …
Ewa Bankowska / The Densegroup (SBG/WIEN/PL)
Body In Space
„body in space“ is a short performance which focuses on bodies experience while moving in space and time. The performer moves in space in different ways while commenting upon its own experience.
the piece emphasizes and absurd of the body that reflects upon its own actions. in a humorous and light way „body in space“ investigates the border between instinct and analytical mind of a moving body. at the same time it approaches the audience in a sensual way through sharing an internal and bodily experience through the medium of words.
Ewa Bankowska (Poland/ Austria) dancer, choreographer from Poland. She studied dance and choreography in Salzburg Experimental Academy of Dance (SEAD) and international relations at the University of Lodz. Since 2004 she has been creating pieces (among others: „Pigs Can't Fly“ 2004, „Total Luft Panorama“ 2006, „non-return-to-zero, baby!“ 2007), that were invited to different festivals (Festival for Contemporary Dance in Kalisz, Poland, March 2005, Inteatrofestival in Polverigi, Italy, June 2005, Tanzimpuls Festival, Salzburg, April 2006, New Faces New Dances, Szene Salzburg, January 2005 and 2006). In 2007 she created in collaboration with Amanda Pina two pieces („self“ and „you“) and received TURBO residency in Impulstanz. In 2008 she presented a solo „enter“ during perform>d<ance# 8. Currently (as an „artist in residence“ in DANS.KIAS studios in Vienna) she is working on a new project „space“ which will be presesnted in October in the frames of tanz_house festival 2008 in Salzburg.
Gina Battistich (WIEN)
Memories in Flesh and Bone
Fragment eines Solos in Zusammenarbeit mit Verena Fuchs. Theatrales Tanzstück mit szenischer Abfolge.
Memories in Flesh and Bone ist eine Annäherung an Themen wie Weiblichkeit, Rollenbilder, Authentizität. Gezeigt wird ein fragmentarischer Auszug. Die insgesamt vier Szenen des Stücks folgen Stationen eines Lebensweges, rollen diesen von hinten auf.
Performance: Verena Fuchs
Musik. Johann Strauß: Künstlerleben und George Winston: Summer
Sound Editting: Camilo Fernandez
Gina Battistich studierte zeitgenössischen Tanz in Wien, Linz und Amsterdam und erhält eine Ausbildung in der Feldenkrais Methode.
Ana-Maria Bogdanovic / Association of Professional Dance Artists „PULS“/ Dance association „Imani“
I AM. is a new co-production by the Association of Professional Dance Artists „PULS“ and Slovenian Art Association „Imani“ choreographed by Ana-Maria Bogdanovic. Inspired by Antony de Mello's lectures „Awarness“, she probes that which cannot be grasped in any other way but only through negotiation (neither this or that), or rater topics that never cease to put us before the wall of cognition (love, god, thruth, existance, death).
As an alternative to the failed attempts of restraining „the great topics“, and reducing them to the level of recognizable, forcing them into letters and words, through movement, the performers explore the layers that evade our means of cognitive and verbal perception. Is our being capable of reaching its apex and its essence through movement, through dance? Can dance emphasize or even celebrate our being? What does it mean to be? When are we truly being?
I dance, therefore I am.
Performance: Ana-Maria Bogdanovic, Stocija Zrinski, Rosana Horvat
Original music by Lucijan Cetin and Peter Urek
Set Design: Ivana Knez and Ana-Martina Bakic
Costumes: Stocija Zrinski
Katarina Durdevic / Association of Professional Dance Artists „PULS“ (HR)
„Where my navel has disappeared?“
1. Which is your lucky number?
2. What is your favourite colour?
3. Are you Miss or Mrs?
4. What is your maiden surname?
5. What is yours child surname?
6. Is it true that people have to be born in pain?
7. Why women in Croatia do not have right to give birth painlessly?
8. Are we biologically determined by the womb or are we self determined human been?
If you believe that you have the right to decide for me …
According to the census in 2001 in the Republic of Croatia there were:
180.000 self-supporting parents
156.000 (83%) self-supporting mothers
32.000 (17%) self-supporting fathers
60% of the self-supporting parents do not receive the the alimony on a regular basis
83% of the self supporting single mothers do not receive the the alimony on a regular basis
Choroegraphy by: Katarina Durdevic, Ivancica Horvat
Performance: Ana-Maria Bogdanovic
Costumes: Davor Klaric
Sound Editting: Robert Nappholz
Video: Ivo Vinuesa, the text read by Maro Martinovic, light design Miljenko Bengez
Matija Ferlin (SBG/HR)
Lucky Between The Mountains
An imagainary portrait of Lucky
Performance: Martina Nevistic
Music: Nico Muhly „Hudson“
Matija Ferlin is a graduate of The School for New Dance Development in
Amsterdam. He has presented and performed his own work in Croatia, Romania, Montenegro, Portugal, Germany, Canada, USA, Slovenia and The Netherlands. His work includes several short movies, exhibitions and stage performances (Tepli Zdrhi 2001, Streptokok 2003, Sad Sam Revisited 2004/06, Drugo za jedno 2007). He has worked with choreographers, directors, photographers such as Ivica Buljan (Marquiza de Sade, Jackie 2008),Maja Delak (Rodeo 2007), Ame Henderson (Blue Disco 2003, Manual For Incidence 2005, Dance/Songs 2006) Sasha Waltz (Gezeiten 2005, Radial Dialogue 2006) Keren Levi (Territory 2005), Martin Butler (Luka & The Last Celebrity 2003, Phoenix 2005, David Zambrano (The Rabbit Project 2003) and others. Since 2007, Matija has been living and working in Pula, Croatia.
Jule Flierl (SBG/D)
Life in present time. Expecting future.
How can voice and movement interfere each other?
How does the meaning of text change by repetition, switching words, interpretation and context of situation?
The piece wants to give an inside view of the emotional body, by using the means of dance, voice and abstract visualisation.
The spectator takes part in the moment of experience, in which presence turns into past, the place of ending- and starting again.
Performance: Jule Flierl, Ines Ruess
Assistant: Martina Nevistic
Jule Flierl grew up in East-Berlin. Her performance experience covers the fields of dance, film, theatre and modelling from the early age of 12. In her work as dancer and choreographer, her special interest is to integrate voice into the moving body and to let them interfere each other.
In the age of 19 she played the main role in german movie „Fuehrer Ex“ by Winfried Bonengel. In 2005 she choreographed „Hamletmaschine“ by Heiner Mueller at 3. Stock Volksbühne-Berlin.
After diverse performance experiences in Berlin, she started her contemporary dance education at SEAD in 2005. She danced in „almost“ by Sania Tropp, which was shown in Salzburg, Maribor-Slowenia, Banska Bystritza-Slovakia;
The piece won the competition in Zaghreb-Kroatia and was performed in Almada-Portugal. During the education she produced various pieces, e.g. collaboration with Agustin Castilla-Avilla for „race 4 2 quartetts + 1“, presented at SEAD and szene salzburg; and collaboration with composer Marios Joannou Elia for Armatur, shown in Kollegienkirche, Salzburg. Furthermore she danced in pieces of Anna Macrae, Matej Kezar, Libby Farr, Tugce Tuna and Susan Rethorst. From 2008 she started to collaborate with the Austrian choreographer Georg Hobmeier for „you never walk alone“, dealing with dance camera interactions.
Petra Hrascanec Herceg / dance_lab collective (SBG/HR)
„feeturing …“ is a solo that has parameters of a snapshot in time. The movement material is based on a simple act of walking and is fast developing to related forms keeping the shift of weigh as the only constant. Time as a constant is also being reassessed so that moving through tempo extremes creates a different reality of 'normal' timing. It proposes a question about the length of a moment, something that we take for granted as an experience.
Performance: Petra Hrascanec Herceg
Music. Matmos – A chance to cut is a chance to cure
Video: Tomislav Tondini
Petra Hrascanec Herceg finished my basic dance education in Croatia and following that joined the Studio – contemporary dance company where she was a member for three years. After that she enrolled SEAD in Salzburg for a three year professional education. There she worked with teachers like Ted Stofer, Anton Lachty, Matej Kejzar, Matthew Willam Smith, Jozef Frucek, Linda Capetanea, Trisha Baumann, Milan Kozanek, Joao da Silva, Martin Sonderkamp, Bruno Caverna, Andrew Harwood, Tugce Tuna, Eileen Standley, Susan Rethorst, Elizabeth Farr, Kate Mattingly etc.
In 2004 she was the co-founder of an artistic organization „dance_lab collective“ in Croatia and through its production she created her work: 2007 – „Sjedi, 1“, 2006 – „Amaretto“, 2005 – „Pi“, 2004 – „windows 2004“.
Rahel Seraina Imbach Ferner / Das Collectif (SBG/CH)
Dialogue au jardin
Dialogue au jardin is inspired of Yvonne Rainers piece Continuous Project-Altered-Daily choreographed 1969. A dance piece based on choreographed phrases and improvised elements.
Six dancers are busy in their garden. They are playful with their objects (gardener tools) and with each other. Improvised moments and fixed rules gives the dancers a big range of freedom to structure the piece. Monologues, dialogues between others the group and the music are able to develop. The movement vocabulary define simple physical movement, daily movement, deformation and putting movement in another context.
Performance: Judith Hirsch, Kordula Möser, Angela Nassall, Susanne Rebholz, Doris Valtiner, Rahel Seraina
Music: French Chansons: La vie l'amour, Le vieux piano, Mon manège à moi, Edith Piaf, Elle mal étreint, Stephan Eicher ; Les plus belles jours, Musique Simili
Rahel Seraina Imbach Ferner grew up in Switzerland. There she learned Ballet, Graham and Limon Technique and had the possibility to perform several repertory choreographies, as well continuous project-altered daily from Yvonne Rainer. Absolvent of SEAD 3 years professional dance education in Salzburg. Since summer 2005 freelance dancer, choreographer and teacher in Salzburg and Berne.
Ellinor Ljungkvist (SBG/SW)
Four people dressed in red move in a particular way; three people dressed in black smoke cigars and move in a different, particular way. Perhaps these ways serve to suggest that these seven people are characters: exuberant sirens? dangerous mafiosos? Perhaps it's all just an event that takes place in or around ARGEkultur on June 20, 2008.
Performer: Ellinor Ljungkvist, Mike Winward, Cecilia Rydin Savander, Tine Marinka, Markus Axellsson, Ona Foste and Linda Trolese
Birgit Mühlmann-Wieser (SBG)
Picturing women in our society – ordinary alienate? The choreographer is playing with the expectations of the audience and questions the ordinary genre of the female. The piece reflects on self-awareness, self-discovery of an outside form on self-decision as well as alienation. Shown will be an excerpt of 5 min of a 15 minute piece developed and inspired by the exhibition Frauenzimmer – UPDATE II.
„I have chosen this piece because it will be part of a bigger concept which is still work in progress. Venus:power will show 4 female characters embodied by two performers to discover the diversity of layers inside each of us. The pictures will be collected mixed up or exchanged with each other and resolve in space.“
Performance / Costumes: Birgit Mühlmann-Wieser
Birgit Mühlmann-Wiese was born 1972 in Zell am See.
1996 Professional Physiotherapist, training at SEAD.
1999-2000 Post Graduate Diplomas in Community Dance at Laban Centre London
2000-2003 BA Hons in Contemporary Dance at London Contemporary Dance School
Since 1990 choreographies and performances in Austria and England
2005 Founding of B.M-W Dance Company with focus on performance and conveyance of contemporary dance
Recent own productions: ,Grenzgänge' and ;Venus:power' (2008), Taneperp' (2007), 'Die Welt zwischen Schärfe und Unklarheit' und 'Madame …' (2006)
Anna Maria Müller
Work in progress
T.R.A.N.S. ist ein Soloprojekt dass im Rahmen der sommerszene 08 aufgeführt wird und in Cooperation mit dem Derra de Moroda Archiv entstanden ist. Ausgangspunkt des Researches ist ein Bild von Jules Perrot.
Geschlechtertausch war im klassischen Ballet des 19.Jahrhunderst gang und gebe. Männer wurden hauptsächlich als Choreografen anerkannt, die Weiblichkeit wurde auf der Bühne angehimmelt. Sind die männlichen Kritiker und ihre Sichtweisen schuld an dem wenigen was man über die männlichen Virtuosen der damaligen Zeit weiss?
A Tribute to Jules Perrot!
Anna Maria Müller, geboren in Salzburg, Mag, phil, Ausbildung u.a. an der Arts Educational School (London), Universität Wien und Anton Bruckner Privatuniversität Linz. Seit 2005 als freischaffende Tänzerin und Choreografin tätig. Engagements: cie. Xida, editta braun cie. Eigene Werke wurden in den letzten Jahren in Wien (BRUT, Theater Metropol), Salzburg (MDR, republic), Villach (NBV) und Linz (CCL) präsentiert.
Auszug aus „Gladiatorendämmerung“
Performance: Heidrun Neumayer & Martin Uhlir
Komposition: Martin Wistinghausen
Vier junge zeitgenössische Komponisten aus Salzburg und Bern vertonen den Mikro- und Makrokosmos des sportlichen Wettkampfs in vier Stationen. Im Rahmen dessen agiert die Choreographie von Heidrun Neumayer zwischen Musik und Video.
Teil der Dramaturgie ist das ästhetische Spiel zwischen Individualität (Gladiator) und den Erwartungen der Masse (Zuschauer).
Von der Schöpfung bis zum Tod durchläuft der Sportlerkörper sein Sportlerleben, wie auch die Situation des Wettkampfes von der Vorbereitung bis zur Siegerehrung. Das Zusammenspiel von Körpern, Trainingsgeräten und zeitgenössischer Komposition schaffen das interdisziplinäre „Spielfeld“ einer Auseinandersetzung zwischen Kunst und Sport.
Die Gladiatorendämmerung wurde am 13. und 14. Juni in der ARGEkultur uraufgeführt.
Heidi Neumayer wird Im Rahmen von CRUSH eine gekürzte Version des vierten Teiles nochmals zeigen.
Heidrun Neumayer hatte eine mehr als 10-jährige Karriere als Leistungssportlerin in der Rhythmischen Sportgymnastik. Während dieser Zeit war sie Mitglied des Österreichischen Nationalkaders, nahm an nationalen und internationalen Wettkämpfen teil und gewann den Staats- und Vizeeuropameistertitel im Showtanz.1999 begann sie das Ausbildungsprogramm an der Salzburg Experimental Academy of Dance (SEAD), in dessen Rahmen sie an der Tish School of Arts in New York studierte. Schon in dieser Zeit war sie als Tänzerin, Dozentin und Choreographin in den Bereichen Ballett, zeitgenössischer Tanz und HipHop tätig. Sie arbeitete mit Choreographen wie: Rebecca Murgi, Ori Flomin, Beda Percht, Susan Quinn, Caroline Decker u.a.
2004 begann sie, mit dem Tänzer, Choreographen und Begründer der Axis Syllabus-ump Methode zu arbeiten und bekam 2007 ein Aus- und Weiterbildungsstipendium der Stadt Salzburg für den ersten Teil ihrer Ausbildung zur Axis-Syllabus Dozentin. Seit 2006 ist sie Dozentin am SEAD Salzburg, für das Studienjahr 2006/07 war sie Lehrbeauftragte am Orff Institut / Mozarteum Salzburg und seit 2007 arbeitet sie als Performerin für die Company Phoenix Productions (Wien). Im Herbst 2007 arbeitete sie gemeinsam mit der Tanzwissenschaftlerin, Kuratorin und Dramaturgin Nicole Haitzinger und der künstlerischen Photographin Anja Manfredi an einem Re-Enactment Projekt über Anna Pavlova. Ergebnisse dieses Projekts wurden in Form von Ausstellungen im MUSA in Wien sowie in der Galerie Schuster in Berlin präsentiert. Derzeit bereitet sie sich auf ihre Eigenproduktion „The hidden language“ vor, die im Oktober 2008 beim tanzhouse Festival Premiere feiern wird.
Martina Nevistic (HR)
My first …
„The eye cannot choose but see, we cannot bit the ear be still, our bodies feel where re they be, against or with our will.“
Toxicated body. Relation to physical movement. What is the difference. Which are the levels- in a sense when mind enters the body, awareness of it. When and how/why emotions of euphoria, laugh attack, fear, shame, aggressiveness …appears. How you deal with it without having a control over yourself. To hide it, to show it even more, to surrender, will you help yourself …what is actual reality of it.
Performance: Martina Nevistic
Martina Nevistic, born 1983 in Zagreb, Croatia. Finished High school for contemporary dance in Zagreb. She continued to educate herself on workshops in Vienna, Berlin, Zagreb, Pula, Zadar and become a member of „The Studio contemporary dance company“ in Zagreb, where she took part in their productions. Today, Martina is finishing SEAD-Salzburg experimental academy of dance, Austria.
Lada Petrovski (SBG/HR)
In the middle with you
Doesn't matter if you are good or bad person, if you fall from the building anyway you will hit the ground.
People say that stupid question doesn't exist.
How things are connected and why they should be? Relation between us, them and others? Who are we? Who are you? What is our relation? What kind of atmosphere do we create, what is the taste of it? How many people will watch this piece? Did you count technicians? Where are you going after you read this? Why? With who? You will come back soon? Do you prefer day or night? Black or white? Today-tomorrow? Why? Why do we ask this questions which can't be stupid? How many telephone numbers do you know by heart? Would you like to see me with one leg shaved and the other not? It will rain 26. of September?
This was our starting point, questions we were dealing with in the process.
Performance: Martina Nevistic, Lada Petrovski
Music: Gerry Rafferty – Stuck in the middle with you
Lada Petrovski was born in Croatia (Zadar) 1985. She started with dance education since she was a child. Through the dance and music schools she got more intersted in contemporary art, and after few workshops she was imprest by contemporary dance. During the high school she became involved in diferent projects as a dancer (performer), working also on the International festival of new theatre and Performing Arts. After high school she was working in Zagreb and taking open classes and workshops of contemporary dance and performing arts. Since 2005. she is studying at Salzburg experimental academy of dance.
Regina Picker / InCorporated (WIEN)
ich seh ich seh, was du nicht hörst
Der Ausgangspunkt meines momentanen Stücks ist das Ausschalten des Sehsinns und das Erforschen des damit einhergehenden, veränderten Bewegungsausdrucks. Dabei eröffnen sich für mich zwei Räume, der Raum im Hier und Jetzt und der Erinnerungsraum. Die Gemeinsamkeit der beiden ist eine eingeschriebene Intimität und Authentizität. Als ZuseherIn bildet man sofort Assoziationen und Geschichten, welche der Körper erzählt, ohne rationell eine Geschichte erzählen zu wollen.
Performance: Benjamin Schoppmann
Regina Picker liebt und lebt, studiert und arbeitet, is(s)t und trinkt in Wien. Neben assistierenden, beratenden, managenden, kellnernden, unterrichtenden Tätigkeiten choreographiert und tanzt(e) sie in Wien, Amsterdam, sowie auf Festivals in Budapest und Sofia.
Paola Ponti (SBG/I)
Osmosi & Fries (and after the kiss he ate her)
Liquid traces moving through the body.
Skin and eyes are the places where the osmosis happens.
Images appears from the memory of the skin,
sensitive fragments are coming from the back of the eyes.
'This is what I see when I'm inside the green mouth'
Osmosis is an excange, and to be more precise, as the dictionary says, is a chemical process of diffusion of molecules through a membrane.
My attention was drawn from skin and eyes as 'places' from where you can perceive the world, get in contact with the outside. Skin, contact, or sensations that sometimes you can not name, but that are clearly vibrating in your body, from the surface to the inside.
And eyes: they see the present, but also your wishes and desires and reminiscences can make you „see“ …
I'm a very dreamy person, so for me was not always easy to deal with this layers!
Which one is the reality?
What am I seeing in this moment: present, or desire and wishes, or reminiscences?
What do I choose to see, what do I want to see now?
What is surprisingly coming out during this work in progress looks like a not linear story …
There is a toad that is not a prince, wind in the rooms and silent outside, wrinkles and hands, liscio romagnolo (traditional folk musik from my land)
Is a work in progress. It's a work made of a video and a performance on stage.
It's the first solo I'm creating for myself, and is the first video I'm editing!
Performance: Paola Ponti
Choreography: I love explore, research, try to surprise myself, express through movement, never ending curiosity … never happened that I was moving without trying to know „why“, what there is behind, physical and not physical reason, but also never loosing this instinctive impuls to move that for me is the base on which everything is starting, rooting, and this strong love, passion for dance, that is my certainty
Benjamin Schoppmann (WIEN/D)
Performance: Gina Battistich
Born 1979 in Ulm/Germany, Benjamin Schoppmann spent his early jears in the Ballet school of the Wiener Staatsoper, finished Highschool focused on arts, and 1998 began to study theatre, film, literature and philosophy in Vienna. He's worked in the field of dance and live art in collaboration with Barbara Kraus, the 2ND Nature Dance Group/Christine Gaigg and Deufert+Plischke.
Jana Unmüßig (SBG/D)
„A dog is a beautiful animal“ he said, looked at the tree, jumped out and hold her hand. Later: the blueness of the blue while somewhere some music was played.“
Pekka Kortelainen dancing a dance.
Without subtitles is generated by the wish to compose different physical items, movements, in order to build a body of dance. In that sense I was neither interested in the history nor in the psychologie of the performer but in how the performer engages with the physical idea. The performer is constantly negotiating the form in such a way that the spectator witnesses some body that takes decisions. Which creates a series of moments similar to a a collection off blurry photographs.
The question that emerged out of the compositional choices was what is an image in a public space as the stage. Which kind of projection plain does one offer?
The moment when the performer standing with a laptop on stage and presenting a slide show is a moment of inversion: he throws the pictures back into the audience that was until now projecting pictures onto him.
The work thus created exists 'horizontally', without a hierarchy. The bodies/objects sit with their full weight in the dance/space in such a way as to create awareness of space for the audience, just as for example the music and the object that is producing it do.
The spectator is invited to enter this space, to bring his or her own associations and to make his or her own sense out of the actions on stage. The spectator is a collaborator.
Performance: Pekka Kortelainen
Music: Beatles – Something
Jana Unmüßig, geboren 1980 in Freiburg/Breisgau erfuhr ihre künstlerische Ausbildung am SEAD (Salzburg Experimental Academy of Dance) und nahm darüber hinaus an verschiedensten Workshops teil, u.a. bei Philipp Gehmacher, Rosemary Butcher, Xavier Le Roy und Mette Ingvartsen. Jana Unmüßig initiierte eine Vielzahl eigener Projekte und Arbeiten, zuletzt „This is a chewing gum or: Is there still milk in the fridge?“ im Republic in Salzburg. Im Juli/August 2008 wird sie als Artist in Residence bei Movement Research in New York arbeiten, im September dann eine Research Residency am Théâtre Tangente/Lynda Gaudreau in Montreal innehaben.
Mike Winward (SBG/USA)
We don't have much more to divulge, other than to say that we are on holiday.
The two of us get into the dance studio and then certain things happen. We decide to keep most of them, in the order they occurred, without thinking too much about it. The movement could serve suggest that we are on holiday. In a sense, we actually are.
Performance: Ellinor Ljungkvist, Mike Winward
Mike Winward graduated from Bennington College in 2007. Then he came to Salzburg and proceeded to hang around.
Alexandra Zach (SBG)
Libretti of Schenis Moves are contemporary songs of the songwriter and singer Nika Zach and Electronic Artist Michl Hornek. Dancing interpretation will be focused by choreographer Alexa Zach on the meaning of the songs, which is fragmental in poetic and lyric atmosphere. The main intention of the composer was to put the personal sight of every day situations to a global and general state of mind and individual habits becoming non-personal.
Values of the common society loose their generous personal relation and the individual goals getting official and global.
There are originally twelve songs existing as the sort of written lyrics in combination to atmospheric interpretation through a mosaic of rhythms and melodies. Human complex relationships and the different and illuminated ways of living together are taking place as main themes of the chosen songs. The sensitive question of individuality considering human perception appears concerning hopes, wishes and fears. How can we generalise our feelings and experiences to a common sense?
These aspects are mainly important for the concept of dance material and design being always in relation and in dialogue with the concept of music and lyrics.
The work with text and counterpoint relationships between music, dance, text and formal ideas are switched on and off in different kind of ways. The integration of contrasts and unusual time-space-solutions will give the process an interesting view on interpretation of songs. Some times the lyrics are expressed as associative and spontaneous expression of movement. Skills and shapes, motives and sequences are appearing and departing in different varieties of time aspects. The consequent way from lyric to choreographic material will be done as well as the path back to the meaning of music and atmosphere. Formal technical dancing material mainly coming from everyday movement skills are included as well as more sophisticated material coming from each individual dancer. The special kind of aesthetic is not a question of stile but interpretation of all aspects of relation between music, lyric and individual interpretation of time. The work with narrative aspects will be included as well as the work with musical formal dimensions and possibilities.
Technical fundaments of the piece are contemporary elements of different stiles and individual language of the dancers as well as elements of Contact Improvisation and aspects of the Axis syllabus Motor Principals created by Frey Faust.
Schenis Moves is the co-production of Nika Zach-Michl Hornek/Producer for composed songs and the choreographer Alexandra Zach. Dancing interpretation will be focused on the meaning of the songs, which is fragmental in poetic and lyric atmosphere.
Values of the common society loose their generous personal relation and the individual goals getting official and global.
The sensitive question of individuality considering human perception appears. How can we generalise our feelings and experiences to a common sense?
These aspects are mainly important for the concept of dance material and design being always in relation and in dialogue with the concept of music and lyrics.
The work with text and counterpoint relationships between music, dance, text and formal ideas are switched on and off in different kind of ways. The integration of contrasts and unusual time-space-solutions will give the process an interesting view on interpretation of the music.
Dance and choreographic joinment: Julia Zach (A), Christina Hirt (A), Valerie Klein (A), Amadeus Berauer (A), Vedran Nedelkovski (Mazedonien)
Concept, Organisation, Choreography: Alexandra Zach (A)
Composition and Voice: Dominika Zach (A)
Music – Production, Electronics, Instruments, Co-Composition: Michael Hornek (A)
Kostüme: Dorothea Schwarzl (A), Alexa Zach
Study of Music- and Dance Education at Mozarteum, Orff-Institut, Main subject: Dance, I and II Degree 2001
Research – work in Indian Classical Dance in Varanasi, India 1997/98 Study of North-Indian style Kathak
Dance Education: Contemporary styles, Limon, Contact, Cunningham, Dance-improvisation and – composition, Axis Syllabus, Alexander Technik Yoga different styles
Teacher of Music- and Dance Education in the field with children and adults/teacher programms in Music- and Dance-Institutions in Austria, Germany, Chech Republic and Thailand
International Courses for Teachers in cooperation with different Institutions like Orff Schulwerkgesellschaft and Mahidol University in Bangkok
Teacher for Dance and Movement at the University of Music and Performing Arts in Graz and Bruckneruni Linz since 2006
Dance Performances: dance, conception and choreographic work for
Travelling, 1996 Salzburg
Anantya, 2001 Salzburg
Aananda, 2002 Salzburg
mediColours, 2003/04 Salzburg, Vorarlberg
Finestre, 2006, Salzburg, Italy
SCHENIS MOVES, 2008, Graz, Salzburg, Vienna
Marta Kosieradzka, Ewa Wilisowska, Olga Swietlicka (HR)
World without end
The main topic of it are two worlds we are all living in. One is our inner, dreamy world, the other is the reality we are living in. Connection between those two worlds was the main subject of our work . As human beings we are all the time moving between our imagination and the outside world, very often standing in opposition to imaginary one. This piece is also around the subject of femininity and it's different aspects. Each performer is creating a character telling different story about what we have found out about women and their nature.
Performance: Marta Kosieradzka, Ewa Wilisowska, Olga Swietlicka
Music: Biosphere, The Dust Brothers
We met at Anton Bruckner Privatuniversitat in Linz and decided to work and develop our ideas together. Since one year we've been searching for new choreographic ideas, developing and experiment with different concepts. We found out that our different backgrounds and experience can bring interesting results together. ''World without end'' is our second choreography. We are still searching and trying to find new ways of expression in contemporary dance using many sources of inspiration such as f.ex video or photography.