Choreographers in residence 2009

: © Thies Rätzke

Like the last two years we started our K3 Residenciesprogramm on April. Within 100 international applications of around 30 countries we choose:

* Fabian Barba (Ecuador)

* Gudrun Lange (Düsseldorf)

* Begüm Erciyas (Türkei)

Fabian Barba (Ecuador): A Mary Wigman Dance Evening

: © Thies Rätzke

Fabian Barba reconstructs an evening of dance that could have taken place in the 1930s. As a guideline, he implements the program from Mary Wigman’s first tour in America in which she presented some nine solo dances from different dance cycles, among them Shifting Landscape. The reconstruction’s express topic is the modifications that have inevitably been made to the original and the modern concepts that have been ingrained into the dancer’s body.

Only about a century ago modern dance started to exist in Europe. Important innovators like Rudolf von Laban, Isadora Duncan, Ruth St Denis and Mary Wigman, among others, tried to break with the conventions of classical ballet by devising new techniques and movement languages. Challenging the values and conventions of bourgeois societies, they sought to create a dance that would express the new and freer spirit of the time, their time. In this manner, their work set into the dance world some modernist imperatives such as innovation, authenticity and individuality, notions with which we’ve been busy all along up to our days.

For A Mary Wigman Dance Evening, Fabian Barba took as a starting point the performances Wigman offered during her first tour through the United States in 1930/31. Thus, he`s come to gather a recital composed of nine short soli. Three of those were learned from videos of Wigman dancing herself. For the other dances he had access to three different kinds of sources: photos, texts written by Wigman and newspaper reviews of the period. From these sources it’s not possible to recuperate something such as an 'original', but it's possible to deduce the themes, moods, movement qualities and gestural vocabularies based on which he created new dances himself. For these new creations, he placed himself on the fictional set-up that he was a student in the Wigman School in the thirties and that he was creating these soli to present them in that school, with that audience. To help out, me made use of yet two other sources: the work with three ex-students (Katherine Sehnert, Irene Sieben, Susanne Linke) of the Wigman school in the sixties, with their memories and body knowledge, and his former training in modern dance in Quito from which he`s derived many technical tools that have helped him to create and perform these dances.

Some texts that talk more extensively about the motivations, method and questions that have appeared throughout this project can be found at www.busyrocks.org

1. Seraphisches Lied (Komposition: Hanns Hasting)

2. Gesicht der Nacht

3. Pastorale (Komposition: Hanns Hasting)

4. Anruf (Komposition: Hanns Hasting)

5. Sturmlied (Komposition: Hanns Hasting)

6. Sommerlicher Tanz (Komposition: Hanns Hasting)

7. Raumgestalt (Komposition: Sascha Demand)

8. Zeremonielle Gestalt (Komposition: Sascha Demand)

9. Drehmonotonie (Komposition: Sascha Demand)

ON TOUR:

Gudrun Lange (Düsseldorf): Die schnittige Menge

Die schnittige Menge deals with the concept of the average living room, which was established and built by the advertising agency Jung von Matt. There is a living space with all of the standardized attributes: 2.2 room occupants and the movements that could take place there. But appearances are deceptive, because the average living room only has a statistical size. In “Die schnittige Menge”, the actors move back and forth between recognizability and abstraction, categorization and individuality, daily routine and specialization. They show their own “averageness” in order to question “average” as a defining category.

_{Die schnittige Menge ist eine Produktion von K3 | Tanzplan Hamburg auf Kampnagel. In Koproduktion mit dem Forum Freies Theater Düsseldorf. Gefördert von der Hamburgischen Kulturstiftung. Mit Unterstützung von Jung von Matt. 18., 20., 21. NOVEMBER 20:00 UHR P1| APRIL 2010 FFT DÜSSELDORF}

Begüm Erciyas (Türkei): Ping Pong

_{Ping Pong ist eine Produktion von K3 | Tanzplan Hamburg auf Kampnagel. In Koproduktion mit Bimeras (Istanbul) im Rahmen von Jardin d’Europe. Jardin d’Europe ist ein mehrjähriges Kooperationsprojekt aus Mitteln der Europäischen Kommission. Gefördert von der Hamburgischen Kulturstiftung.}

02., 04., 05. DEZEMBER 20:00 UHR P1 |

ON TOUR:

Ballroom (Weiterentwicklung von Ping Pong):

11 Juni O Espaco do Tempo, Montemor-O-Novo/Portugal im Rahmen von LOOPING

14 Juni Uzes Festival, Frankreich im Rahmen von LOOPING

19 Juni Festival Pleskavica, Ljubjana/Slovenien

29 August Tanz im August, Berlin im Rahmen von LOOPING

05. und 06. Oktober iDANS, Istanbul/Türkei

Ballroom is a continuation of a kinetic and dramaturgic study of Ping Pong balls. Ping Pong I was premiered in K3- Center for Choreography in December 2009. Begüm Erciyas

They train every day: They bounce, roll and form groups. They investigate their own physical qualities as well as the principles of dynamics and kinetics. They prepare to execute their choreography as well as possible. A choreographic score is written for bodies – the bodies of performers or of objects. They disclose the codes inherent to choreography: the use of storytelling strategies and compositions of movement. The movement of ping pong balls cannot be controlled after they have been introduced. Whatever happens afterwards, happens coincidentally. With Jenny Beyer and Sigurdur Jonsson.