NAH DRAN extended: Tanzstipendiaten
Marta Hincapié Charry
Igor Koruga
Kata Kovács
Ligia Manuela Lewis
Tom O'Doherty
Michael Shapira
Jessy-Lane Tuddenham
Sabine Zahn
27. September - 28. September 2014
Sat 27.09.14 20:30 Uhr
Sun 28.09.14 20:30 Uhr
Uferstudio 7

ada Tanzstip quad
Galerie
Bilder ansehen

Termine
27. September 2014, 20:30 Uhr
28. September 2014, 20:30 Uhr
Description

NAH DRAN is a performance series for Berlin based emerging choreographers. It provides an opportunity to present new pieces (probably for the first time) to an audience. NAH DRAN has its focus on dance pieces but is also open to multidisciplinary works. It assembles 3 pieces by different young artists in one performance evening. NAH DRAN („close to”) means that there is literally no gap between performers and audience what offers a chance to meet on an equal footing.

NAH DRAN extended means that the works were selected under a specific curatorial aspect. „NAH DRAN extended: Tanzstipendiaten” („dance scholars”) was created at Berlin dance scholars’ suggestion in collaboration with the Culture Department of the Berlin Senate. After the successful premiere in June 2010 awardees will present now already for the fifth time results of their research to the public. Since the early 1990s, there is this scholarship that enables Berlin dancers and choreographers to take time for research and further development. Among the first of the more than 100 selected fellows are Ingo Reulecke, Ka Rustler, Thomas Lehmen, Bridge Markland, Be van Vark, to name a few.

Guests of this "NAH DRAN extended" edition are fellows  of the year 2013:

 

Saturday, 27.09.2014:

Michael Shapira: Tales of Readymades

Martha Hincapie: Double-sided (Research)

Sabine Zahn: bodies and explosions 2;  "Luft auflösen"

Igor Koruga: TELL THEM ABOUT THE DREAM

 

Sunday, 28.09.2014:

Jessy-Lane Tuddenham: A Dance for a Sub-conscious State

Kata Kovács & Tom O’Doherty: Sound, Movement, and Silence

Ligia Manuela Lewis: Solo For Peter

 

 

Michael Shapira: Tales of Readymades

My work is in the field of instant composition. My research supported by the Culture Administration of Berlin (Tanzstipendium 2013) focused on the use of the voice in two ways: by singing (taking voice lessons, and sometimes working with songs) and by studying Action Theater™. My idea originally was that the singing practice would represent a use of the voice that relies on language and established cultural norms of rhythm, melody and harmony, while the Action Theater practice would represent an improvisational approach of deconstructing the use of the voice in order to free it from the boundaries of such norms. However, during the process I realized that these practices have elements of both approaches, bringing together somatic work with musical and linguistic images. Also in the context of creating a composition, the question of deconstruction versus the use of “readymade” components is inherent to improvisation in general, because it is a question of perception, from both personal and collective perspectives. Choosing to refer to Duchamp's one hundred years- old concept of Readymades helps me to see the different components in the composition: my body, chosen objects, chosen actions, chosen words, as potential bearers of both prescribed and new meanings, emerging from the relationships that these elements find themselves in. I am currently interested in the dramaturgies that emerge from the collaborative act of authorship between the performer and the audience. The mental and physical process of perception is the base for this collaboration. It happens in every individual, performer as well as audience members, and is facilitated and directed within each individual by personal as well as collective tendencies. As more and more social constructs and hierarchies are critically examined including the ones that make out what we call Theater, the challenge of establishing a dramaturgical agreement between performer and audience increases. I continue to use movement and voice and to these I add improvised interactions with objects. My goal is to enter the asymmetric collaboration of performance and to fully embody my role in it.

 

Martha Hincapie: Double-sided (Research)

„How far is truth susceptible of embodiment? That is the question, that is the experiment.” (Friedrich Nietzsche: The Gay Science)

Humans domesticate other humans in order to meet their needs.

Our essence lies in what is most accidental about us: time and place of birth, habits of speech and movement, flaws and quirks of our bodies. But our own portrait is altered by the regard of the other; the perception of the individual image changes depending of the needs of others...our lives are more like fragmentary dreams than the enactments of conscious selves, a masked ball.

One of the distinguishing features of modern life is that it supplies countless opportunities for regarding, at a distance, horrors taking place around the world, becoming something of a common place. We have seen broken, terrified, dying bodies and grew up touched by violence. Violence turns anybody subjected to it into a thing, it objectifies the body and destroys what identifies people as individuals, even as human beings.

„Double-sided” is a reflexion about the human body, a research about how does the spectacle of the sufferings of others affect us...or not...removing the masks from our animal faces is a task that has hardly begun.

 

Sabine Zahn: bodies and explosions 2;  "Luft auflösen". an experimental set up for spectators and explosions 

Inspired from artworks by various fine artists based on explosive events I wondered how it would be to place explosive events and bodies in their different ways of immidiacy next to each other. What performative situations would occur if bodies ment spectators and dancers likewise?

In a second research step fpr the Tanzstipendium I was particularly interested how the bodies of two dancers an explsoiuve events relate to the perception of space of the spectators. My idea was similar to some fine artists to work on chain reactions.

In public and non public research periods in the Wetterballonhalle (Weather station) on the former Tempelhof Airport we investigated how through an attention towards spacial shifts the situation between present people/spectators and dancers is affected and which role the dancers have in this game.


 

Igor Koruga: TELL THEM ABOUT THE DREAM

TELL THEM ABOUT THE DREAM explores ways of using performing arts practices (dance and choreography) for the act of public speaking. By developing a hybrid artistic format, which combines practices and mechanisms of public speaking and bodily/dance expression, my goal in this research is to stimulate public analysis and reflection over the following issues: the position of an individual in nowadays neoliberal and capitalist society, conditions for modes of art production, living and knowledge exchange, the politicality of art, love and empathy as political categories, the cynicism as a tool for interpreting reality, the authenticity and the (im)potency of criticality in nowadays performing arts practices, the choreography as a tool for analysing of the social etc. All of these issues inspired me to further explore the position and praxis of an artist in nowadays society, seen as an individual advocating a certain social stance. “An intervening social subject that affects the value, ideological and any other dominant systems s/he recognizes in his/her creative environment, namely: the context s/he intervenes into” (Deschooling Classroom 2013).

 

 

Jessy-Lane Tuddenham: A Dance for a Sub-conscious State

Inspired by the work of artist Marcos Lutyens, and a long exploration of yoga & meditation practices, Jessy used her 2013 Tanzstipendium to research the art of hypnosis and sub-conscious states of mind. Her aim was, and continues to be, the development of a simple technology that relies on the human voice in word and the pattern of loops in rhythm, which she can bring into the theater to explore a new path of interactive dance performance. She is motivated by questions around kinesthetic empathy, and the blatant manipulation of an audience ‘s experience in consuming dance.

Though always hopeful of creating work that is aesthetically rich, Jessy is not here to blow minds. In her hypnotic work, she hopes, if nothing else, to offer a moment of reprieve for the nervous system.

Out of her research is the start of a ‘solo’ (duet and beyond) in which dance, sound and a guiding word come together to hypnotize an audience into imaginative realms and subconscious spheres. It is an undulation in and out of rest, in and out of dance, and in and out of whispered stories both true and unreal. Sit back and relax, as you begin to sink into a deep … state …  of …  sleep …

 

 

Kata Kovács & Tom O’Doherty: Sound, Movement, and Silence

Since 2011, Kata Kovács and Tom O’Doherty have worked as a collaborative duo, creating performative installations and videos. Their work is situated at the borders of performative and durational art, minimalist and electroacoustic music composition, movement, and video art. This work is frequently shaped by attempts to apply rigorous processes to simple but often-overlooked phenomena – they are interested in processes, sounds, and movements that come close to imperceptibility, and the ways in which this raw material can be transformed through layering, rhythm, pattern, and repetition.

 

Ligia Manuela Lewis: Solo For Peter

„Solo For Peter” was devised from the adaptations of two plays: „Antigone” by Jean Anouilh and „Not I” by Samuel Beckett. Through their translations, both Antigone and Billie Whitelaw (the mouth of „Not I”) emerge as emblems of conviction and embodiment. They form the backbone of the performance along with additional insertions from the writings of Simone Weil and Chris Kraus. I am particularly engaged in the study of embodiment, a practice I used with performance artist Brian Getnick to create in him a meticulously crafted hybrid body in a state of flux. We employed Stanislavki's method acting technique and and Authentic Movement practice. Getnick and I worked to go beyond satire, to fully embody the instability of a being that maintains itself through an apparent desire to become „other”. Through this state, the voices of Antigone and Beckett’s muse Billie Whitelaw, emerge and the stage becomes a platform for one body to wrestle with conviction, empathy, and suffering.

Performers

 

Martha Hincapie: Double-sided (Research)

Performance: Martha Hincapie Charry, Gabriel Galindez Cruz

 

Igor Koruga: TELL THEM ABOUT THE DREAM

Collaboration: Ana Dubljević With consulting from: Nikolas Y Galeazzi, Charlotte Vandevyver & Ana Vujanović

Supported by: Tanzstipendium Der Regierende Bürgermeister von Berlin Senatskanzlei - Kulturelle Angelegenheiten (2013), Uferstudios Berlin & Life Long Burning EU network (LLB) / EU, Summer Coaching Program - Work Space Brussels, Rosas Studios & P.A.R.T.S. Brussels, ada Studio Berlin, Jeffrey Modell Foundation – WIN grant New York, Bitef Theatre Belgrade, Ministry for culture and information Republic of Serbia, Station – service for contemporary dance Belgrade, POSPID Belgrade, TASK festival & PLATFORMA / Jardin Labo LLB EU in Zagreb.


Ligia Manuela Lewis: Solo For Peter

Concept & direction: Ligia Lewis Performance: Brian Getnick Music: George Lewis Jr.

This performance was made possible with the support from the Berlin Senat, and a residency at Pieter Performance Art Space (Los Angeles).

More info (and reservation options)
Ticket-reservations: 030- 21 800 507 or e-mail to: ada-berlin@gmx.de
Ticket price
7-12 €, sliding scale

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