INTERNATIONALES THEATERINSTITUT / MIME CENTRUM BERLIN

MEDIATHEK

FÜR TANZ

UND THEATER

MCB-DV-6455

NAH DRAN extended 1. Choreography in the expanded market 2. Study for "T...

Beschreibung

NAH DRAN Reihe für kurze Tanzstücke im ada Studio
Die Reihe NAH DRAN präsentiert in regelmäßiger Folge neue oder weiter entwikkelte kurze Stücke junger Tänzer und Choreografen, wobei die Grenzen zu Körper-, Sprech- und Musiktheater sowie Performance offen sind.
NAH DRAN extended heißt, dass die Arbeiten unter einem speziellen kuratorischen Aspekt ausgewählt wurden. "NAH DRAN extended: Tanzstipendiaten" entstand auf Anregung von Berliner Tanzstipendiaten und in Zusammenarbeit mit der Kulturverwaltung des Berliner Senats. Nach der erfolgreichen Premiere im Juni 2010 zeigen Träger des Tänzerstipendiums, das die Kulturverwaltung alljährlich vergibt, nunmehr bereits zum zweiten Mal Ergebnisse ihrer Recherchen öffentlich. Seit Anfang der 1990er Jahre gibt es dieses Arbeitsstipendium, das Berliner TänzerInnen und ChoreografInnen Recherchevorhaben und Weiterbildungen ermöglicht. Zu den ersten der bisher über 100 ausgewählten Stipendiaten gehören u.a. Ingo Reulecke, Ka Rustler, Thomas Lehmen, Bridge Markland, Be van Vark. Zu Gast bei dieser "NAH DRAN extended"-Ausgabe sind Stipendiaten des Jahres 2011.
1. "Choreography in the expanded market" is a study project supported by the Tanzstipendium and the Goethe institute. It incorporated a two month phase of study and research development of the residential high end real estate market of New York City, and more specifically relationships between artistic devices in Dance and Performance and the high-end real-estate marketing methodologies. This study is a following to the performance project "LIFE & STRIVE" which was organized by Anat Eisenberg and Mirko Winkel in Istanbul in 2010 and took place in a construction site of a new residential building.

2. Part of my Tanzstipendium was devoted to spending some time living on the streets of San Francisco as a homeless person. There I encountered the Occupy movement, experienced first-hand its attempt at a kind of direct social democracy, and clarified my interest in the discourse around selfdetermination, autonomy, and madness in anonymous environments. The performer's highly constructed state of super-visibility by nature of the performer/audience relationship and the homeless man's super- invisibility, when embraced, both lead to a suspension of social expectation therefore enabling a tremendous degree of creative potential. Looking at self determination, we must ask ourselves, "To what extent does the now write the future, and how much is the future already writing its own past?"

3. Diane Busuttil presents the outcomes of the Tanzstipendium research phase and show further filmed material relating to what the research was for. She discusses the difference in the two works and talk about sensory experiences derived from the footage.

4. The inputs to create are the worlds surround Trayvon Martin, many others and myself. Using the "Get Physical process" as a tool. Impact, difference what it moves! Facts outside going inside and just have been!! The body is a political body and individual expression. In this respect it is with "Get Physical of process" not about the medical-physical body, but more about the social construct linked with it. "Twenty years ago, the dancing body was seen as a wonderful source of movement possibilities. Today, however, more and more dancers and choreographers are asking that the audience see their bodies as a source of cultural identity ' a physical presence that moves with and through it's gendered, racial and social meanings". (Ann Cooper Albright)

[Quelle: Abendzettel]

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Die Trailer von "Study for "Towards Another Miraculous", "two dimensional sensations" und "Shoot" sind auf der Seite von Tanzforum Berlin verfügbar.

Choreographie
Darsteller
Anat Eisenberg/ Frank Willens/ Daniel Aguilar/ Diane Busuttil/ Ricardo de Paula
Standorte
MCB HZT
Aufnahmedatum
Samstag, 30. Juni 2012
Orte
Stadt
Berlin
Land
DE
Kamera
Walter Bickmann
Länge
107 min