Alumni.Tanz.Berlin-Festival
Uferstudio 7

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Thu 03.05.18 20:30 Uhr , Pauline Payen, Don Mabley-Allen, INNER / Marlene Naumann & Cathleen Rabe, Hanna Kritten Tangsoo
Fri 04.05.18 20:30 Uhr , Pauline Payen, Don Mabley-Allen, INNER / Marlene Naumann & Cathleen Rabe, Hanna Kritten Tangsoo
Sat 05.05.18 20:30 Uhr , Lulu Obermayer, Rebecca Driler & Aaron Vazquez, Renen wt.bojtr
Sun 06.05.18 20:30 Uhr , Lulu Obermayer, Rebecca Driler & Aaron Vazquez, Renen wt.bojtr
Description

The Alumni.Tanz.Berlin Festival will be held for the first time in 2018. Like the S.o.S -Students on Stage Festival, its interest lies in the coming together of the central players in Berlin’s dance education programs—their students. Now in its 11th year, S.o.S. had set itself the goal of creating a visibility for student work, while attempting to display the widest possible range of aesthetics and artistic methods that exist in the field of contemporary dance. It is obvious, however, that this diversity is lost with the transition of recent graduates into the independent dance scene of Berlin.
Looking to bridge this gap, the Alumni.Tanz.Berlin Festival specifically identifies the recent graduates of all Berlin contemporary dance educational institutions as its invitation pool. The invited artists are offered the opportunity to develop and present a (first) production with the support of a mentor and dramaturgical counsel. The festival then makes available to the artists, in addition to a small production budget, a platform for both their unfinished and their tested—a guide to the first small away from school and large steps into the independent dance scene in Berlin.

program:
Thursday, 3. May 2018, und Friday, 4. May 2018, at 20:30

Pauline Payen: Something Stiky is Stuck
Combining her research on paradoxical aspects of psychological sound techniques (Musak, binaural beats, positive-affirmations) with X. Lisboa’s Moving-Image-Awareness method, Pauline Payen is re-visiting elements of her graduation show A Very Unique Gift. Staging power dynamics in a playful way, she works with derisory, seriousness and a slight irreverence. Seeing the world as a place of drag-extended practice, her collection of personas is always growing, evolving, and returning, adopting fiction as a strategy. The narratives are built as a riddle.

Tamara Dagan, Don Mabley-Allen, Sara Paternesi, Antonio Savoia, Clara Federica Crescini, Mariana Varela, and Flavia Zaganelli: It Used To Be Like That
Take some time. Devote a space to it. At least four walls, a floor and a ceiling. Inside are forms, colors, volumes, words; gathered under the same roof and arranged with titles.
The museum is a paradox, a finite space for artifacts and objects from infinite time. We exist here at this moment, and now this one.
Instinct is authorized, sensations are followed, and we are forms, colors, volumes and names. Can these bodies be outstanding pieces of art, artists, visitors, didactics on the walls?
We’re here now. We might be dancing. Let’s see what we can see.
Shouldn’t we preserve our own traces?

“It Used To Be Like That” was created by Tamara Dagan, Don Mabley-Allen, Sara Paternesi, Antonio Savoia, Clara Federica Crescini, Mariana Varela, and Flavia Zaganelli, classmates in the 2016-2017 Dance Intensive Program at Tanzfabrik Berlin. In shared classes, improvisations, composition exercises, and performance projects, we have developed an organic way of working together that takes the improvising body as a starting point. The resulting images, sensations, and ideas are fed back into movement, and gradually dance emerges.

INNER/Marlene Naumann & Cathleen Rabe: Zwei Schwestern
The contemporary performance piece “Zwei Schwestern“ (“Two Sisters”) deals with the connection of the topics of shame and femininity. The historical role of women is examined and from there linked to and compared with current and personal experiences. In huge, multi-layered skirts of different colours, various scenes of shame are explored. New limits of well-being are sought and existing ones questioned. Where does shame prevent us from doing what we want to do? Are our own needs the motivations of our behaviour or the desire to please others?

Hanna Kritten Tangsoo: The blue blue me
“The blue blue me” starts from a strong wish to believe and an unclear direction taken. The body is named the treasure and the mind just blows. The space will not recognize the mover and the dance just won't fit. You will see the intention but forget the reasons. And then it all gets faster and faster till the story just unriddles into a vast field of opportunities never meant to be taken. And no-one will jump to conclusions, we will find ourselves already within. The rule is to preach. To be more honest, more real and more tomorrow or even two days after. Nothing can dry. And everything will.

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program:
Saturday, 5. May 2018, und Sunday, 6. May 2018, at 20:30

Lulu Obermayer: The Girl(s) of The Golden West, Act I
After the opera by Giacomo Puccini
The opera La Fanciulla del West takes place during the Gold Rush (1849/50) before California’s induction into the United States of America, a time of racial and economic diversity in a place where all people had the new opportunity of creating a life for themselves.
Act I is set in the saloon “Polka” run by the protagonist Minnie.
What connects everybody there is the pursuit of gold and the notion of melancholy, and homesickness. These qualities will be explored in performance in order to create an affective landscape where it is possible to feel loss and hope.

Rebecca Dirler & Aaron Vazquez: DIVΞRSIDΞM
A while ago these four foreign performers took the risk to move to another country. In the past years they had to adjust themselves to a new culture, adapt to a new mentality and learn and decode a new language. To sum up: they modify their way of communication.
In this piece they want to examine their new identity along with the audience. A particular aspect of this work is the connection between their native language and the development of their own personality and how the nuances of a new language can
change and shape this process.

Renen wt.bojtr: SENSITIVE SKIN
“SENSITIVE SKIN” is a piece about tickling. With a decent amount of fun and suffering, it deals with the sensitivity of body and character. As involuntary reactions, tickles reveal something from deep inside of us in moments when we are the least ready for. Thus, resulting out of a sensitive physique, they also expose a sensitive entity in turn.
We tickle out of love while we are making love. Out of compassion, out of affection. We tickle with joy or out of provocation. Out of powerlessness, embarrassment. With Passion. Sometimes in pain sometimes in relaxation. And in front of your eyes, without any exception, we will tickle with comfort and tickle with tension.

Performers

Thursday May 3rd and Friday May 4th 2018, at 8:30 PM
- Pauline Payen: Something Stiky is Stuck
- Don Mabley-Allen & Co: It Used To Be Like That
- INNER/Marlene Naumann & Cathleen Rabe: Zwei Schwestern
- Hanna Kritten Tangsoo: The blue blue me

Saturday May 5th and Sunday May 6th 2018, at 8:30 PM
- Lulu Obermayer: The Girl(s) of The Golden West, Act I
nach der Oper von Giacomo Puccini
- Rebecca Dirler & Aaron Vazquez: DIVΞRSIDΞM
- Renen wt.bojtr: SENSITIVE SKIN

Programming/ Mentoring/Dramaturgical Counsel:
 Alex Hennig, Cilgia Carla Gadola, Gabi Beier, Johanna Withelm

Funded by the Berlin Senate Department for Culture and Europe/Multi-sector funding.

Sen KuEu logo quer

+++ Supported by the Berlin Senate Department for Culture and Europe / 2 years venue funding. +++

More info (and reservation options)

Ticketing: Tel. 21 800 507, ada-berlin@gmx.de

Ticket price
sliding scale 8,00 € – 13,00 €

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