Bauhaus tanzen. I 18.04.2014 I 5 - 9 PM I Uferstudios

Bauhaus tanzen © Andrea Keiz
>Bauhaus tanzen  © Andrea Keiz

Oskar Schlemmer called the movement and stage studies that he worked on as director of the stage workshop of the Bauhaus Dessau with students and guest dancers in the 1920s “Bauhaustänze”. These minimalist and clip-like experiments manifest an approach to spatially oriented movement art beyond ballet andAusdruckstanz that has almost been forgotten today. HZT Berlin students, TU Berlin scenographers as well as dancers from the Anhaltische Theater Dessau have newly interpreted the “Bauhaustänze” choreographically and scenographically under the artistic director Ingo Reulecke. In the Uferstudio’s courtyard and studios, performances, short films and installations can be seen from 5-9 pm.

Programme

Courtyard I 5-9 pm
"Über Beziehungen“ Katrin Fürst, Rosalind Goldberg, Anne-Mareike Hess

Courtyard I 6-8 pm
"Kugel Theater“ Cécile Bally

Seminar room 2 I 5-9 pm
"Paper-traced“ Polyxeni Angelidou

Studio 11 I 5 pm & 7:30 pm
"Bis man den Menschen trifft" Karina Suárez Bosche
"DIVISION" Steffi Sembdner, Katja Pudor, Jens Nordmann
"Aufgaben für drei Tänzer mit Kubus“ Cheng-Ting Chen, Juan Gabriel Harcha, Cristina Lelli

Studio 14 I 5 pm: BLOCK I
"Stäbe tanzen" Raphael Hillebrand
"kobolding the bauhaus“ Juan Pablo Lastras-Sanchez

Studio 14 I 7:30 pm: BLOCK II
"Das Feld“ Julian Weber
"Das Triadische Schloss“ Matteo Marziano Graziano


Tickets:

A ticket for Studio 14 is also valid for performances in seminar room 2 and in Studio 11; with a ticket forStudio 14 Block I preferably the performances at 7:30 pm in Studio 11, with a ticket for Studio 14 - Block II preferably the performances at 5 pm Uhr in Studio 11
In case you want to visit only the performances in Studio 11 and/or in seminar room 2, you need a ticket nonetheless. 
For events in the courtyard entrance is free.

Admission: Block I and II, 4 € (one price) each
Studio 11 and seminar room 2: 4 € (one price)

Reservations: tickets@hzt-berlin.de
Please note the block. The entrance to events in the courtyard, in seminar room 2 and in Studio 11 is open to holders of a ticket of one of the two blocks. If you want to visit both blocks, you need two tickets.

Additional performances on 3. May 2014, 5-9 pm at the Bauhausbühne Dessau. www.bauhaus-dessau.de/bau...

A project of the Stiftung Bauhaus Dessau in cooperation with the Anhaltische Theater Dessau, the Inter-University Centre for Dance Berlin and the Technische Universität Berlin. Supported by the TANZFONDS ERBE – A German Federal Cultural Foundation initiative.

Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

 

 


KATRIN FÜRST, ROSALIND GOLDBERG, ANNE-MAREIKE HESS: ÜBER BEZIEHUNGEN

Katrin Fürst, Rosalind Goldberg, Anne-Mareike Hess: Über Beziehungen © Anne-Mareike Hess
>Katrin Fürst, Rosalind Goldberg, Anne-Mareike Hess: Über Beziehungen © Anne-Mareike Hess

5-9 pm I Hof Uferstudios
Concept, participants: Katrin Fürst, Rosalind Goldberg, Anne-Mareike Hess

90 years after Oskar Schlemmer’s Bauhaustänze, Katrin Fürst, Rosalind Goldberg and Anne-Mareike Hess have taken a new approach to experimental human-object relationships in the context of contemporary theatre. In a nine-month experiment, Fürst, Goldberg and Hess share their daily lives with objects that are related to the Bauhaus’ colour and form teachings and which seem useless at first glance: a blue ball, a yellow tetrahedron and a red cube. They appropriate the objects and search for an emotional relationship to them.

Is emotional dependence to a useless object necessary and possible? Can the object control humans? What gives objects human characteristics? Cube, sphere, tetrahedron, Goldberg, Fürst and Hess pose the question of what a relationship between objects and humans can look like today.

 

CÉCILE BALLY: KUGEL THEATER

Cécile Bally: Kugel Theater
>Cécile Bally: Kugel Theater

6-8 pm I Courtyard Uferstudios
Concept and choreography: Cécile Bally
Co-choreography/ performers: Tabea Magyar, Emma Tricard
Musical concept: Klaus Janek

A human installation for two masked bodies on a rotating platform that is moved by the audience. Two human bodies that have to maintain their balance in a static position on a turning circle. Two bodies that become real objects – but living objects… moved by an external power.

This project is an interface between different interests and a place that connects them. These are, among other things, Schlemmer’s contradictory desires: to want to distance himself from “mechanical theatre” on the one hand in order to return to a theatre of characters; on the other hand, his observation of the human personality as an object that moves according to the rules of the designer. In addition, the project takes up the issue of women’s positions in the avantgarde movement, addresses Andor Weininger’s ideas of a spherical theatre and returns to the Bauhaus’ roof that had regularly become a rehearsal space and location for meetings.

 

POLYXENI ANGELIDOU: PAPER-TRACED

Polyxeni Angelidou: Paper-traced © Cecilia Tselepidi
>Polyxeni Angelidou: Paper-traced © Cecilia Tselepidi

5-9 pm I seminar room 2
Choreography und performance: Polyxeni Angelidou
Space and light: Shahrzad Rahmani, Cecilia Tselepidi

"Paper-traced“ is a continual installation/ performance. The audience is invited to move throughout the space and to interact with the landscape of soft white paper that is bound to gravity. The landscape changes constantly as a result of movement. At a certain point it becomes one person’s costume, which then blocks the room.

Based on the principles of Bauhaus performances, “Paper-traced” attempts to combine the space, movement and bodies through the use of a certain material. In the process, new audio/visual atmospheres are created as well as unreal forms of space and human existence.

 

KARINA SUÁREZ BOSCHE: BIS MAN DEN MENSCHEN TRIFFT

Karina Suárez Bosche: Bis man den Menschen trifft © Anne-Mareike Hess
>Karina Suárez Bosche: Bis man den Menschen trifft © Anne-Mareike Hess

5 & 7:30 pm I Studio 11
Choreography: Karina Suárez Bosche
Dance: Thea Færden Bringsbærd
Space and costumes: Mireia Vila
Music: Marti Guillem

In accordance with the utopias of his time, Oskar Schlemmer wanted to find the real human being through mechanisation, costumes and limitations.

Inspired by this search, in "Bis man den Menschen trifft“ Mireia Vila, Karina Suárez Bosche, Thea Færden Bringsbærd and Marti Guillem deal with the question of how identity is created. If you define yourself by way of external influence, when are you then essentially yourself? In search of identity, a body is contingent to the temperature, the texture of things and materials. The body is transformed and allows itself to be transformed by the materiality of things, objects and costumes. The attempt to connect and simultaneously remove yourself becomes an analogy of the social influence that an individual is subject to.

The sum of all colours is white. White walls that limit the space and change it; a body that is sometimes whole and sometimes only a part; a white costume that is a part of the space and a part of the body meet with live music.

 

STEFFI SEMBDNER, KATJA PUDOR, JENS NORDMANN: DIVISION

Steffi Sembdner, Katja Pudor, Jens Nordmann: Division © Anne-Mareike Hess
>Steffi Sembdner, Katja Pudor, Jens Nordmann: Division © Anne-Mareike Hess

5 & 7:30 pm I Studio 11
Performance: Steffi Sembdner, Katja Pudor, Jens Nordmann
Sound: Jens Nordmann

"DIVISION_performative Raumzeichnung“ is a collaborative project by the two visual artists Jens Nordmann and Katja Pudor and the choreographer Steffi Sembdner. The subject of our research is a process-oriented, performative work between sound, movement and material.

We see our meeting as an experiment in which we test and go beyond our own limits. Instead of an intersection of hermetically defined and person-bound qualifications, we are looking for a flowing transition – a give and take. Similar to the way Oskar Schlemmer saw his “Bauhaustänze” as experiments for basic research into a “new theatre”, we see our cooperation as research on a new understanding of art and life. How does our work influence our life and vice versa? Can art become a location for considering non-hierarchical, democratic processes? DIVISION is an experiment and living organism that constantly changes and develops.

 

CHENG-TING CHEN, JUAN GARBIEL HARCHA, CRISTINA LELLI: AUFGABEN FÜR DREI TÄNZER MIT KUBUS

Cheng-Ting Chen, Juan Gabriel Harcha, Cristina Lelli: Aufgaben für drei Tänzer mit Kubus © Anne-Mareike Hess
>Cheng-Ting Chen, Juan Gabriel Harcha, Cristina Lelli: Aufgaben für drei Tänzer mit Kubus  © Anne-Mareike Hess

5 & 7:30 pm I Studio 11
Dance, concept, choreography: Cheng-Ting Chen, Juan Gabriel Harcha, Cristina Lelli
Stage and costumes: Cheng-Ting Chen, Cristina Lelli

“Strict regularity can be the highest form of art,” wrote Oskar Schlemmer in the evening programme of the 1929 Berlin Volksbühne Matinee. His theatrical work was largely made up of “stage attempts originating from space, from form, from colour and from material”. In his theatre concept, humans “are not the carriers of individual expression, but rather a prototype of a certain behaviour” in relation to these formal stage elements. It is mainly about “simple stage events” that create theatrical events through strict regularity and far from subjective attempts at expression.

Based on these three points (strict regularity, formal stage elements – space, form, colour – as the cause for behaviour and the elimination of the performer’s subjective character), we would like to attempt to place a series of mechanical actions founded on a preconceived movement structure in the space. With the help of a metronome, regular body movements will be performed synchronously so that our bodies are repeatedly (re)positioned geometrically in relation to a cube and the space. In this sense, we understand our role as performers only as the servants of theatrical events.

 

RAPHAEL HILLEBRAND: STÄBE TANZEN

Raphael Hillebrand: Stäbe tanzen © Anne-Mareike Hess
>Raphael Hillebrand: Stäbe tanzen © Anne-Mareike Hess

5 pm I Studio 14
Choreography: Raphael Hillebrand
Stage design: Janja Valjarevic
Projection: Christian Loclair
Dancer: Raphael Hillebrand, Christian Loclair

Schlemmer’s "Stäbetanz“ is the starting point for this reinterpretation of the theme of dancing lines. We continue Schlemmer’s enthusiasm for geometrics and body by means of media-technology and urban dance. We are exploring the idea of expanding the concept of cooperation between people to include man-machine interaction.

 

JUAN PABLO LASTRAS-SANCHEZ: KOBOLDING THE BAUHAUS

Juan Pablo Lastras-Sanchez: Kobolding the Bauhaus © Anne-Mareike Hess
>Juan Pablo Lastras-Sanchez: Kobolding the Bauhaus © Anne-Mareike Hess

5 pm I Studio 14
Choreography: Juan Pablo Lastras-Sanchez
Dance: Charline Debons, Joshua Swain
Composition and music: Klaus Janek
Projections: Ulrike Wentzkat

Two goblin-like creatures emerge from two geometrical objects; they conquer the stage with their playful instinct. They enliven the space with their movement and fill it with colour in the true sense of the word. But these two beings disappear as surprisingly as they appeared; what remains is an empty space that is engulfed by a projected yellow dot that increases in size.

Juan Pablo Lastras-Sanchez takes up two of Oskar Schlemmer’s thoughts in his choreography: playing with basic colours and working with geometric figures. Experimenting with playful fantasy is in the foreground. The relationship between the space and humans as well as between form and colour motivates Juan Pablo Lastras-Sanchez to create strong images with a starkly reduced repertoire of movement.

 

JULIAN WEBER: DAS FELD

Julian Weber: Das Feld © Anne-Mareike Hess
>Julian Weber: Das Feld © Anne-Mareike Hess

7:30 pm I Studio 14 
Choreography: Julian Weber
Dance: Inna Krasnoper, Claudia Tomasi, Daniela Kaufman, Sandhya Daemgen, Sebastian Pöge, Zack Bernstein, Przemek Kaminski, Julian Weber
Stage design/costumes: Nino Tugushi, Julian Weber
Sound: Klaus Janek

The form is the point of departure, but it is understood to be a human partner and a source of friction for the dancers. The reduced, flat and thus two-dimensional objects have a sketched character. They become activated by the dancers, are carried into the space and composed. The space is actually sketched out.

In these compositions of material and bodies, the dancers create temporary situations with volumes using the two-dimensional original material. This approach to objects in relation to space and the body is confronted with ecstatic and constant, obsessive and regulated, playful and manic bodies. A dense interplay of interactive spaces of humans and material is created that constantly misses and locates contradictory aspects: abstraction and narration, humans as objects, objects as bodies, positing and liveliness.

 

MATTEO MARZIANO GRAZIANO: The Triadic Castle

Matteo Marziano Graziano: Das Triadic Castle © Evgeny Revvo
>Matteo Marziano Graziano: Das Triadic Castle © Evgeny Revvo

7:30 pm I Studio 14
A short film inspired by Oskar Schlemmer’s "Triadic Ballet"
Director and choreography: Matteo Marziano Graziano
Camera: Evgeny Revvo
Editing and musical composition: Lilith Vinçon
Costumes and stage sets: Francisca Villela, Matteo Marziano Graziano

The short film is freely inspired by Oskar Schlemmer’s Triadic Ballet and by his placement of the human figure in space. The research’s focus here is on space, forms and gestures, and the relationship of these subjects to the universe of the “body” from a visual perspective: choreographic structures, investigating formal academic dance (ballet) in an empty space and observing the body’s geometric structures play the leading role in this project.

Bound to a fully formal and interdisciplinary Bauhaus style, the film is divided into three parts and plays with the borders between video art, video dance and video portraits. The film questions the sense of reconstructing Bauhaus dances in the present. The raw film material is considered a documentation of “durational performances” and distances itself from film action that is pre-determined by a director in order to research the transmutation/ transformation of real action into a moving image.

Thanks to: Anhaltische Theater Dessau, Bauhaus Archiv Berlin




Dancing Bauhaus. A Tanzfonds Erbe Project 

 

 Interview: Isabel Niederhagen | Camera and Editing: Andrea Keiz | A production by Diehl+Ritter gUG in the frame of Tanzfonds – eine Initiative der Kulturstiftung des Bundes.


Since 2011, students from the HZT Berlin, set designers from the TU Berlin as well as dancers from the Anhaltischen Theater Dessau (artistic director: Ingo Reulecke) have been studying the “Bauhaus dances” and creating – inspired by historic images, films and texts – their own interpretations.
Oskar Schlemmer called the movement and stage studies that he created as director of the Bauhaus Dessau’s stage workshop with students and guest dancers during the 1920s “Bauhaus dances”. These minimalistic and clip-like experiments manifest an approach to spatially-oriented movement art beyond ballet and Ausdruckstanz that has almost been forgotten. In the Tanzfonds Erbe project, the “Bauhaus dances” will be newly interpreted in the sense of choreography and set design.

 

Dates:

8. February 2014, 3:00 pm until 8:00 pm: Work-in-Progress presentation with dance performances, talks, installations and films in the context of the »Mensch – Raum – Maschinen« exhibition.


18. April 2014, 5:00 pm – 9:00 pm Premiere Uferstudios Berlin
03. May 2014, 5:00 pm – 9:00 pm Premiere Bauhausbühne, Dessau

A project by the Bauhaus Dessau Foundation in cooperation with the Anhaltischen Theater Dessau, the Inter-University Centre for Dance Berlin and the Technischen Universität Berlin. Supported by TANZFONDS ERBE – An initiative of the German Federal Cultural Fund. 

 

What is TANZFONDS ERBE?

The Kulturstiftung des Bundes (German Federal Cultural Foundation) is continuing its commitment to dance with the launch of TANZFONDS ERBE (DANCE HERITAGE FUND). Contemporary dance enjoys only limited public visibility as an art form in Germany despite the fact that the international reputations of dance artists such as Mary Wigman, Dore Hoyer, Tatjana Gsovsky, Rudolf von Laban, William Forsythe or Pina Bausch, began in Germany.

 

TANZFONDS ERBE finances creative projects that promote the cultural heritage of dance and lays the foundation for reconstructing the history of contemporary dance in Germany. The research and production processes funded by TANZFONDS ERBE will be documented. The documentation will be available to the public, teachers and researchers in online databases. Project overview and documentation:   www.tanzfonds.de