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Rose Crisp | Omeo Dance: "unwrapping danse" am 18.10.2013 um 19:30 Uhr
Sujet tanz_house herbst 2013

Rose Crisp | Omeo Dance: "unwrapping danse"

Soloperformance der in Paris lebenden Australierin Rosalind Crisp.

ARGE tanz Koveranstaltung mit Verein tanz_house

a body is not an idea…
a partial lecture about a partial history
an unfinished d a n s e by a saturated body
an ongoing practice, exposed…
What holds up when the wrapping is gone?
Is there a leg to stand on once the shining sheen of performance paraphernalia is rubbed out? What was there anyway, before it got stitched up?
After the skein of the spectacle has been removed, we return to dance.

  • Performerin Rosalind Crisp
  • Choreografie Rosalind Crisp
  • Video Eric Pellet/Le Fresnoy
  • Credits Atelier de Paris – Carolyn Carlson
… Über alle Ähnlichkeiten hinaus erstaunen Crisp's Bewegungen durch ihre pure Andersartigkeit (…) die standardisierte Syntax des Tanzes wird hier getilgt. Es ist magisch (…)
Niemand sagt uns (der Künstlerin) was zu tun sei, (dem Publikum) was es zu bedeuten habe, (irgendjemandem) was es sei. Das ist Tanz, vielleicht sogar Tanztheater, wie nie zuvor.
Keith Gallasch RealTime April/May 2011

Rosalind Crisp

Australierin, weiblich, alt. Gründerin von Omeo Dance studio, Sydney 1996-2005. Lebt seit 2003 in Paris und arbeitet am Atelier de Paris-Carolyn Carlson. Entwickelt seit 2005 die "d a n s e research" Projekte. Eine Liste von 25 Projekten, 7 Auftragsarbeiten, 4 Preisen, 3 Wohnungen, 1 Ehemann. Performt und unterrichtet weltweit.

Workshop mit Rosalind Crisp: choreographic improvisation

Samstag, 19.10. & Sonntag, 20.10.2013, 11:00 bis 16:00 Uhr

Workshop choreographic improvisation with Rosalind Crisp open for students and professionals
(incl. 1h lunchbreak); the studio will be open from 10 a.m. on.
Location: tanz_house Studio
Language: English

An introduction to aspects of Rosalind’s continually evolving practice in a field she terms choreographic improvisation. Her work offers practical tools to pay attention to the act of dancing and concrete ways of generating and of perceiving movement from any part of the body, at any speed or level, with any force or direction, for any duration… at any time. Tools such as follow one surface of the body at a time, or increase, decrease or maintain the distance between two bones,… are frameworks for deconstructing the body as a multi-dimensional instrument, and place the attention of the dancer on/in her dancing body. As a practice this work can deflect the dancer from their habitual movement pathways, enlarge their range of movement choices, and place them more solidly in the present. It offers primary sources for movement that empower the dancer as creative agent. The tools are explored with partner touch work and in solo exploration.
Further information on Rosalind´s work:

Editorial & Programmübersicht tanz_house herbst 2013