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COLLECTIVE ONE:THIRD: Fate of the Galaxies. 20.07.2017, SOUN D ANCE Festival, Dock 11, Berlin

One of the joys of watching, or taking part in, improvisation is the multitude of potentials each movement has; not all can be followed up, choices must, of course, be made, but the action of choice-making, so explicitly clear in improvisation, is in itself beautifully wrought with paths taken and those left unexplored. Such was palpably evident in the work of six dancers — Edith Buttingsrud Pedersen, Annukka Hirvonen, Sarah Jegelka, Justyna Kalbarczyk, Stefanie Petracca, and Roberta Ricci — who, together with electric guitarist Hannes Buder and lighting artist Emese Csornai, opened the SOUN D ANCE festival with a view to how instant composition can serve as a „laboratory of real life“ for those of diverse countries and cultural backgrounds. Through series of duets, trios, and group work (seldom featuring, perhaps quite meaningfully so, the solo) the eight artists infused the atmosphere with both typical motifs (wandering hands, diagonal balances, tinklings on the cords of the guitar) and unexpected suggestions (relational pulls between bodies, a sound emerging from genuine watching, the rare but surprising pedestrian gesture), building to a generous final offering which balanced the individual dancers‘ own inclinations and internal developments with the work of Buder and Csornai — and while the music of Buder at times led, at times illustrated, and at times was inspired by the movement of bodies on stage, it seemed rather an old sadness to see six beautiful female bodies dance to, or even with, one male voice. Yet the artists were accomplished: so enriching was their ability to bear an idea through from inception to maturity, that traces from seed to blossom were really possible. Yet not devoid of the fizz of uncertainty that makes improvisation so special.

logo_bartsu_vertical_rgb4.5’s SOUN D ANCE Festival Blog

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Jeremy Nelson and Luis Lara Malvacias: „A“ & „D“. 15.07.2017, RADIALSYSTEM V, Berlin.

As much immense attention is paid to sound, light, and texture as to the movement itself in the two duets A and D by Jeremy Nelson and Luis Lara Malvacias. Splitting the stage space in two, the first offering begins sculpturally and with a gentle precision and symmetry, a softly lit, white background for strong but flowing movements, a gentle duet before spinning into an elegant and ebullient, if somewhat monastic, „89“ weiterlesen

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Sasha Waltz & Guests: Allee der Kosmonauten. 15. 7. 2017, Radialsystem V, Berlin.

A constantly churning montage featuring a diverse cast of six, Sasha Waltz’s „Allee der Kosmonauten“ — named after a street in the suburbs of east Berlin — first premiered at Sophiensaele, where it opened the theatre in 1996. Restaged 21 years later on the eastern bank of the Spree, „Allee der Kosmonauten“ explores social cohesion and cacophony, aspiration and rejection, and, very literally, the rhythms of anger and violence juxtaposed with the charm and humour of the French circus. Tableaus and furiously acrobatic displays with objects create some of the most compelling images ready to crack open for interpretation; the video meanwhile — despite a late visual acknowledgement from one of the performers — remains an obscure parallel text. In a cast comprised of different ages, languages, and bodies, who expand and trouble their caricatures with the development of movement, relationships, and sometimes costumes, the older woman (with the exception of some relatively gentle face punching) stays disappointingly underdeveloped. A buzzing, a frenzy, the slam of a kick… love, and horror, and the vigour of misery… the click of the 1990s.

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Christina Ciupke & Ayşe Orhon: At Close Distance. 14.07.2017, Open Spaces Sommer Tanz, Tanzfabrik/Wedding, Berlin

In two pieces strung together under one title — a restaging of Christina Ciupke and Nik Haffner’s 2011 kannst du mich umdrehen preceded by a new work by Ciupke and Ayşe Orhon — two dancers experiment with stillness, velocity, trajectory, weight, and sound in pursuit of understanding kinetic memory and the „impossible past of a physical encounter“. Playing with a deeply affecting extension of the stage — the removal of traditional seats and trappings to create a deep and narrow space — the newest half is composed around symmetrical and asymmetrical balances, exploring positions which obligate the viewer to decide what they see and where their focus lies. Dressed in sheer beige stockings and bold sweaters, the dancers‘ movements are, despite varying in scale from the minute to very large, precise and controlled, but perhaps most alluring is how little sound their movements elicit: Ciupke in particular is eerily silent, giving the impression of watching some sort of modernistic sci-fi semiotic scenario unfold in a world of different physics from that of our own. Parallelograms — principles — proximities. If Ciupke and Orhon’s purported subject is memory, these fragments are fitting: each thing is almost unremarkable in the present moment, yet each thing etches itself with meaning on the memory of the viewer.

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Constanza Macras/Dorkypark: The Pose. 13.07.2017, Akademie der Künste, Berlin.

 
On pourrait croire qu’il est difficile de résumer quatre heures de spectacle en quatre phrases et demie, pourtant, la dernière création berlinoise de la chorégraphe Constanza Macras, „The Pose“, se prête efficacement à l’exercice tant le fond, en apparence pertinent, s’effiloche d’un trop plein d’effets lancinants, épuisants. 25 performeurs, fixes ou invités, entrent et sortent, enchaînent, au rythme de bruits obsédants, des ensembles, duos et solos (l’androgyne Nile Koetting fait toujours aussi peur, Diane Gemsch est inspirante d’expressivité et Emil Bordás transpire de technicité) avec pour toile de fond leur vie projetée en selfies (mention spéciale à l’acteur raté Luc Guiol !). Macras plonge ses danseurs* et danseuses* au milieu de l’Akademie der Künste, bâtiment aux charmes épurés signé Werner Düttmann, et les laisse s’évader dans l’espace, scruter l’essence du mouvement et dégager spontanément moult émotions telle Ana Mondini, en talons aiguilles verts et robe noire, qui va et vient dans les jardins, apparaît et disparaît : une nymphe gracieuse et titubante, fragile et forte à la fois. De la mort du cygne à la tente volante en passant par le caniche-bouée ou la plante grasse épineuse, on finit par se perdre totalement, déjà, en fin de première partie, dans ce foisonnement de pensées, ce brouhaha corporel amusant, souvent ridicule et parfois émouvant.

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Karol Tyminski: CHURCH OF NON-DIVINE, Tanzfabrik Berlin Wedding, OPEN SPACES 02.07.2017

Feiner Staub zerbröselt zwischen aufeinander prallenden Ziegeln und legt einen kupferfarbenen Film auf das postapokalyptische Niemandsland. Das Gewicht von Steinhaufen klemmt zwischen drei Körpern, die sich umarmen, einen Kreis bilden, um die Last von einem Ort zum anderen zu tragen und anderswo fallen zu lassen, weil es viel mehr eigentlich nicht zu tun gibt. In dieser Schuttlandschaft bricht ständig etwas in sich zusammen – jemand taumelt auf unsicherem Grund, immer kurz davor, abzurutschen, ein anderer sinkt zu Boden, mauert sich ein, begraben unter Ziegelsteinen, wenn scharfe Kanten in die Haut schneiden und in dröhnend-flackerndem Licht Köpfe dreier Tänzer*innen in den Nacken geworfen werden, die in verdrehten Körperachsen über Ziegelsplitter kriechen und mit eingeklappten Gliedern hyperventilieren. Auf den Trümmern eines verschütt geratenen Glaubens geben sie sich Schwindel, dem Hang zum Absturz hin, feiern Ekstase, Einsturz und Exzess als queeres, überbordendes Punk-Konzert –  ein enthemmter, grenzwertiger und entgrenzter Bilder-Sog hinein in körperinnere Irrwege, Ausstülpungen, Faltungen. Pinke Farbe auf nackter Haut gegen/für die Entleerung des heiligen Sinns und gottverlassene Dreifaltigkeit.