Posts about dans

Heb je support nodig als je per ongeluk ecstasy hebt geslikt op een begrafenis?

april 26th, 2010

In De Dansvloer vind je een andere kant van Springdance. Choreografen Meg Stuart en Jeremy Wade verzorgen de Workweek voor 45 choreografiestudenten van SNDO (Amsterdam, NL), P.A.R.T.S. (Brussel, B) en Folkwang Universität (Essen, D). Door de IJslandse aswolkvertragingen beginnen ze wat later, maar al snel na aankomst vult de groep elke hoek van de kleine studio in De Dansvloer. Meg Stuart is dinsdagochtend begonnen met een energieopwekkende warming up. Ze zuigen de energie uit de vloer en bouwen op tot een ontploffing van kinetische en auditieve energie. In korte tijd lijkt ze één groep gemaakt te hebben van de drie groepen studenten. Samen schreeuwen en roepen ze, springend, bukkend, met de armen zwaaiend de studio vol. Ik zit tegen een muur van de studio te kijken en voel de nijging opkomen om mee te doen.

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Een solo voor twee handen en zijn schaduw

maart 5th, 2010

Vorig jaar schreef ik een artikel voor Volume, het beschouwend magazine van Theater Frascati. De publicatie hiervan heeft vertraging opgelopen vandaar dat ik het nu op mijn eigen website plaats. Het artikel gaat in op de machtsverhoudingen tussen de solist en het publiek en is gebaseerd op vier solo’s: Dance (Practicable) van Frédéric Gies. Hauts Cris (Miniature) van Vincent Dupont, It’s my ass you’ve been thinking about van Paz Rojo en The Larry and Cherrie Show van Michael Schumacher. Deze voorstellingen waren in Theater Frascati te zien in april 2009.

Een solo voor twee handen en zijn schaduw
Mei 2009

Vier verschillende solo’s waren afgelopen april in Theater Frascati geprogrammeerd. Onder de noemer Alone Together stonden vier choreografen op de vloer, eenzaam en alleen. Een groep toeschouwers zit op de tribune, of staat, in het geval van Paz Rojo’s It’s my ass you’ve been thinking about, om een wit vierkant heen, en wacht af wat deze choreografen te bieden hebben. Wat zal zich ontvouwen tussen performer en publiek, een meting van krachten, een dialoog, of blijven het twee aparte werelden?
Maar wanneer is een dans een solo? Moet je alleen op de dansvloer staan voor een solo en als je alleen op de vloer staat is er dan altijd sprake van een solo? Ben je als solist alleen of samen? En hoe liggen de machtsverhoudingen tussen solist en publiek? Deze vragen vormen het uitgangspunt van dit artikel.

Pas als we samen zijn, is hij alleen
De choreografie van Frédéric Gies’ Dance (Practicable) is in principe ontwikkeld voor maximaal acht personen. Deze acht volgen allemaal dezelfde aanwijzingen op, maar uit niets in de score blijkt dat dit zal moeten leiden tot synchronisme. De vraag is of de voorstelling een solo wordt op het moment dat deze maar door één persoon wordt uitgevoerd. Dit is namelijk wat Gies doet in Theater Frascati.

(Download het artikel een_solo_voor.pdf of lees hier verder) Read more »

A short update

januari 26th, 2010

The publication of Springdance on Europe in Motion is available and can be requested via Springdance.

I visited Choreoroam in Rotterdam, Bassano del Grappa and London during 2009. Choreoroam is a program for exchange and research and development for choreographers.  Now I am working on an article on the international dialogue in the dance community for Dansateliers based on my observations and on interviews with Choreoroam participants.

Rogier Brom and I are finishing our dialogue on Nieuwe Grond and the cultural climate of Utrecht. It will be available soon on this website and on www.nieuwegrond.com. We both wrote a main text and used these texts to start a dialogue on the various themes we recognised during the Nieuwe Grond symposium.

The symposium on Dance Dramaturgy was a succes. More information and reflection soon on www.bit-dansdramaturgie.nl.

From the first of February untill the end of August 2010 I will work from and in Berlin instead of Utrecht. I hope I will get to know the local dance and performance scene.

VDO symposium on dance dramaturgy

december 31st, 2009

INVITATION VDO symposium Tuesday January 19 2010

Dance Dramaturgy
This symposium is the sequel to Forum on Dance Dramaturgy at Dans Werkplaats Amsterdam, December 4 2009. The Dutch Society for Dance Research has invited BIT to present itself and to react to the content of the Forum that was organized by DWA. Guest choreographers will be Jack Gallagher and Mor Shani. The discussion will be moderated by Bart van Rosmalen (managing director of Walter Maas Huis). It will be a dynamic afternoon dedicated to the diversity in dance dramaturgy.

The Utrecht initiative of young dance dramaturges, BIT, studies, discusses and questions aspects in dance to deepen the practice of dance and dramaturgy. The uniqueness of BIT is that dance dramaturges come together, where normally they work individually. Visit www.bit-dansdramaturgie.nl.

BIT: iron mouth-piece for a horse, to which the bridles are attached; smallest piece of information in information technology; bite; piece; period; a little at a time; supporting actor or actress; burst with energy.

Come and meet the new generation:

Anne-Marije van den Bersselaar: Dance dramaturgy is about asking questions and the way answers are found. It is about collaborating with a goal, in which the dramaturge all the time will keep a watching eye over the process.

Diane Elshout: The dance dramaturge is an active and reflective voice in the making process who is co-(re)searching a not yet existing and possible form. Dance dramaturgy is process oriented and considers the ways in which something can be enriched, grow and deepened; practical, theoretical and artistically. The dance dramaturge can be seen as the memory of the production.

Jochem Naafs: Dance dramaturgy is not only giving feedback to the material, but also to how this material is realised. Dance is an always changing process and dance dramaturgy is processing this process. It is not only about that one performance, but about what happened before it as well.

Lisette van Rossum: The bearers of the dance dramaturgical process are human contact and mutual reflection. In order to close the experienced gap between choreographer and dance dramaturge the dance dramaturge first of all needs to acknowledge that people are different in the way they are and (are allowed to) think.

Ghislaine Schijndel: Dance dramaturgy is to analyze and inspire. Researching connections to broaden and deepen the performance. The approach of a dance dramaturge is creative as well as scientific.

Lotte Wijers: Dance dramaturgy is to be open to the flow of the process of making a dance production. To see clear and to be in touch with your senses. And to communicate this experience with the choreographer.

Location: U-Theater Studio T, Kromme Nieuwegracht 20, 3512 HH Utrecht
Date: Tuesday January 19 2010 Time: 16.00-18.00 h
Costs: 5 euro (free of charge for members of VDO)

Subscribing is necessary, because there’s limited seating, mail to: Liesbeth Wildschut: E.M.M.Wildschut [at] uu.nl

www.verenigingdansonderzoek.nl

Danslab symposium

november 17th, 2009

Talking about dance and choreography and writing about the resulting discussion, is similar to dance itself: a continuous process.  This process-like quality of dance and theatre is what distinguishes it from other media and art forms that seem to be more ‘product’ orientated.  on the 4th and 5th of July danslab organized the third symposium for choreographers on choreographic research. danslab proposed the body as the subject for this symposium, or to be more precise: ‘Choreographic Bodies: Approaches and Potentials’. lectures by Rob van Kranenburg, Michael Kroes and the host Helena De Preester were scheduled, accompanied by ‘brainstorming’ sessions, which took on differing form. I took the idea of the ‘processing body’ and two questions concerning this idea as a starting point to write about the symposium, not to come up with an answer but to continue the discussion of the symposium:

1. Is a choreographic body a processing body?
2. Is the rol of the body in contemporary art process filled, or is the body merely a subject and thus a product?

My reflection can be read together with some considerations of dancer/researcher Joa Hug and dancer/choreographer and member of Danslab’s artistic team Jack Gallagher in the 7th newsletter of Danslab.

Research Jack Gallagher

november 6th, 2009

From November 10th untill December 20th I’ll be working with choreographer and dancer Jack Gallagher on his research at Danslab.

Jack Gallagher on the Danslab website:

In Danslab I aim to find some missing links between the communication rules we traditionally come to expect in public space and the language of dance. I will focus on the gap between dance practice and the expectations of an audience who are not immediately privileged to the dance culture. A new ground zero for the performative mover. I want to develop a new line from the Counter Technique, developed by Anouk van Dijk during the past 12 years when I was a main proponent, with expert contributions from linguistics/psychology/philosophy. I will draw a new map for my composing method using Performative Speech Act Theory, Peter Sloterdijk’s spatial modeling & Lacan’s logic of discourses. The main question from Performative Speech Act Theory is -What do we do by saying? I will turn this around- What do we say by doing dance? I’m looking to materialize my hunch about the dialectics of dance between body and meaning. Through Lacanian theory, I will tackle the issue of how dance often says too much!

Collaborators:
Matthew Kelly Roman (dancer)
Diane Elshout (research assistent)
Jochem Naafs (dramaturgy)
Derrick Brown (advisor)

More information will follow soon.

Binnenkort online en/of gedrukt

oktober 20th, 2009

Binnenkort verschijnen drie artikelen over dans van mijn hand. Naar aanleiding van Frame 3: Choreographic bodies: Approaches and Potentials schreef ik The Processing Body. Dit artikel gaat in op de manier waarop het lichaam in dans omgaat met informatie en op de manier waarop dans tot stand komt. “Processing dance is […] the act of processing the knowledge of movement with (through/via) the body [and] it is an infinite dance, perpetually changing; it is dance in process”.

In dit artikel ga ik in op de volgende vragen: “Is a choreographic body a processing body?” en “Is the role of the body in contemporary art process filled, or is the body merely a subject and thus a product?” Het zal in de volgende nieuwsbrief van Danslab verschijnen.

Voor de nieuw te ontwikkelen website van het tijdschrift Volume van theater Frascati heb ik een artikel geschreven naar aanleiding van vier solovoorstellingen die in april dit jaar in Frascati te zien waren. In Een solo voor twee handen en zijn schaduw ga ik in op de machtsverhoudingen tussen performer en publiek tijdens een solo. “Eerst moeten we samen zijn. Vervolgens kan één van ons uit de groep stappen en solist worden. Deze solist kan spelen met de macht die hij verkregen heeft, maar kan zich ook verloren voelen tegenover de groep”.

Springdance legt op dit moment de laatste hand aan een publicatie over Europe in Motion. “Een tweetalig boek met diverse verslagen, artikelen van journalisten Ingrid van Frankenhuyzen en Jochem Naafs, evaluaties en veel foto’s en reacties van deelnemers. In totaal 36 jonge choreografen namen in drie landen (Groot-Brittannië, Roemenië en Nederland) deel aan speciale Dialogue sessies; daarna presenteerden ze hun werk aan het publiek” (www.springdance.nl). In deze publicatie verschijnt mijn column The extra stranger.

Introduction to Beginning, Middle, End

april 23rd, 2009

This is an introduction I was asked to make for the performance Beginning, Middle, End by Andrea Bozic, Julia Willms, Madalina Dan and Michael Pinchbeck. In November 2008 Michael asked me as a dramaturge for his part of a performance: End. End was only to be one third of the whole performance and while reading the proposal that was send to Springdance I wondered how I could ever be a dramaturge for only this part…

After last year’s Dialogue (this years Europe in Motion) Springdance commissioned for a collaboration by three former participants from three different countries to make a performance for this year’s festival.
Andrea, Madalina and Michael decided to propose a performance, which would both allow collaboration and autonomy. The title of this performance, Beginning, Middle, End, refers both to the structure and concept of the work and to the structure of the working process.

The working process of six weeks was preceded by virtual contact in which the idea was worked out. There were three periods with actual contact: 4 days in March (beginning), 4 days in April (middle) and 4 days in this week (end). In these week they were showing each other what they have been working on and figuring out how these three parts fit together to form one performance. The remaining time each maker worked on his or her own part. But they kept looking to each other’s parts, via skype and live. This looking played an important part in the process.
The three parts were allocated alphabetically: Andrea Bozic asked her long time collaborator Julia Willms to work together to make Beginning, Madalina Dan worked on Middle and Michael Pinchbeck worked on End.

So this performance started out of 3 words, both as form and content: beginning, middle and end. The question is what it means to have such a structure for both the making process and the performance you’ll see tonight. Next to collaboration and autonomy this structure also provided content. What is beginning? What is ending? What is it like to be in the middle? And how do a beginning, a middle and an end relate and interact?

In the end this last question is perhaps the question I was thinking of as a problem in the beginning while reading the proposal. Now I would rather see it as a challenging idea to work from rather then a question that needs to be answered. I would like to end my introduction with the following quote, which can be seen as a starting point for this collaboration:

Every moment has a beginning, middle and end, then dialogue will have meaning.
(http://www.abwag.com/beginning_middle_end.htm)

I wish you a pleasant performance.

An artist and his review

april 23rd, 2009

My press kit inside the artist goodie-bag I got yesterday seems to represent my split personality during Springdance. On the one hand I am being the objective journalist, writing my columns about the programme, atmosphere and side programme. On the other hand I am the dramaturge for Michael Pinchbeck’s End. Considered an artist, at least according to the batch I received with my goodie-bag, I morphed into another person in a split second. And is it not the task of the artist to present a subjective perspective on this world?

Of course two issues come to mind straight away. Can I be objective whilst being commissioned by Springdance to write about Springdance? How can I be critical about my own commissioner? The other issue is the question what it is to be a dramaturge. Does my subjective view matter for the artist I am working with? Or should I be able to objectify my own perspective on the performance. Should I try to represent the audience that will come and see the show?
In the end I prefer to mix up a clear subjective view with some elements, which I think are more objective. I try to use this approach in my writing, my research and my dramaturgical practice. Alternating in describing the subject matter and my own position in relation to that.

I can’t help thinking of Simon Ellis’s Down (working title). Ellis, one of the participants in Europe in Motion, not only presented his solo performance, he also provided the context of this performance. From the introduction, where I imagined myself in his place, having just introduced Beginning Middle, End myself an hour earlier, to the reviews, audience reactions and even the specifications for touring.

As an artist Ellis took the liberty to be lecturer, choreographer, dancer, critic, audience and PR assistant in one. Criticising both dance and the dance community, he shows, as the devil’s advocate, the ‘like knows like’ existence of this dance community. He left his audience powerless. Everything was already said. Interesting enough Ellis manages to represent several of my positions during Springdance & performance festival. And by doing this he got me thinking about my position(s) in this community.

In a way Ellis covers himself against any criticism from others, wrapping his entire performance. I could write a review on Beginning, Middle, End today…

Beginning, Middle, End by Andrea Bozic, Julia Willms, Madalina Dan and Michael Pinchbeck tonight (April 23), 19.00h in Theater Kikker.
More Europe in Motion: April 23 and 24, 20.30h in Theater Kikker.

A look back // Into the future

april 18th, 2009

Written for Springdance

Next year Bettina Masuch will do her speech in Dutch, she promises just before the world première of Jérôme Bel’s Lutz Förster. I’m not sure if that is the best choice if your want to get your message across in such an international festival, I’m writing in English for a reason, but it is a nice gesture.

Enter Lutz Förster. A personality, that’s for sure. The peaceful and gentle way of walking to a chair in the wings, and back with the chair, onto the stage, tells me that already. Bel gave Förster the opportunity to tell his professional life’s story on stage to an audience. And Förster likes to talk. He discovered that early in his professional life when he danced and talked in one of many performances by Pina Bausch. His talking in this biography is only now and then alternated with short dance scenes.

Förster doesn’t get too personal, he doesn’t do too much. He is just there, taking some of the viewers back in time and presenting others a short lesson in dance history. I must admit I belong in the second category. My knowledge of Förster’s work was close to nothing. And I had a good time, I wasn’t bored for a minute, I laughed, admired, enjoyed. But I do wonder, as did others, what Bel’s role was. In Pichet Klunchun and Myself the dialogue between Klunchun and Bel was brilliantly staged. They challenged each other, and the audience, to rethink the history and the aesthetics of dance. The performance <i>Lutz Förster</i> is only about and with Lutz Förster. Where is the other? Where is the mirror to reflect? Reflect both movements and words, both history and present? Let’s leave it at that question.

Springdance’s slogan is ‘A look back into the future’. Lutz Förster gave me ‘a look back’. If I want, I can now go ‘into the future’. This weekend is a weekend for new style; contemporary and modern dance, hip hop, flamenco, butoh and street dance.