Many artists employ “labor” as a theatrical device that enables them to weave a wide range of concepts and politics into their work, but few do it as thoroughly as Sergiu Matis’s abridged three-and-a-half-hour opus neverendings (Season 1&2) featuring the 100-year span since the October Revolution. „224“ weiterlesen
Nick Power: Between Tiny Cities រវាងទីក្រុងតូច. 25.08.2018. Tanz im August, Sophiensaele, Berlin.
A crane, a dragon, two lovers, one body, a friendship, a battle, headspins, freeezing. Two dancers trace the circle, inviting and daring each other—a piece sliced into sections of imitation, coaxing, commraderie, contest, and cohesion—their legs splitting and unfolding in the air like origami folded and unfolded in real time. „223“ weiterlesen
One body, one treadmill; a greeting, one smile, a Hallo!: a shy one, a flirty one, a silent one, one pedantic; one Hallo! in the scream, another in the whisper. Beep—the treadmill starts; beep—it goes faster; beep—it goes faster and you run run run „222“ weiterlesen
Voetvolk/Lisbeth Gruwez: The Sea Within. 19.08.2018, Tanz im August, HAU 2, Berlin.
Suddenly somebody reads out the words „redefining femininity“ from the programme notes and I’m not sure anymore what to think – do I have to be the ‚feminist killjoy‘ here? What I am seeing is choreographed by Lisbeth Gruwez, who I remember had this image of a strong and provocative performer? What I am seeing is „221“ weiterlesen
Isabelle Schad: INSIDE OUT. 19.08.2018, Tanz im August, KINDL – Zentrum für Zeitgenössische Kunst, Berlin.
Eine Neu-Konfiguration oder Möglichkeit zum andersartigen Entdecken eines Werks mit dem Wort „Premiere“ zu versehen, klingt natürlich gut, aber ist vielleicht nicht immer ganz der passende Begriff. „219“ weiterlesen
Nora Chipaumire: Portrait of myself as my
father. 16.08.2018, Tanz im August, Sophiensaele, Berlin.
„But what do you really feel?,“ Brenda Dixon Gottschild wants to know after the show, when a young woman, white, asks about the differences of audiences between Africa and Europe and an older man, white, realizes that Nora, embodying African masculinity, actually is a woman. The last step of the evening, which should also be the first „218“ weiterlesen