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Online-Festival

12. – 16. Mai 2021 01 Liebe Festival- Liebe Festival- Gäste, / Dear Gäste, / Dear Festival Guests, Festival Guests,

Dr. Frank Nopper, Oberbürgermeister Marcelo Santos Gudrun Hähnel Landeshauptstadt Stuttgart Artistic director Festival director

???????? ???????? was für ein Jahr liegt hinter uns! What a year it has been! This Das diesjährige Festival hebt sich year’s festival not only stands out für uns nicht nur als Jubiläums- as our jubilee edition, but also ausgabe hervor, sondern auch, because it will have been planned weil es unter außergewöhnlichen and will be held under/in extraor- Umständen vorbereitet wurde dinary circumstances. und stattfinden wird. Noch nie Never before have we been plan- haben wir so viel geplant, ver- ning, changing, throwing out at ändert, kurzfristig umgeworfen, the last minute, and re-envisio- neu gedacht. Um so mehr freuen ning as much. All the more reason wir uns nun, dass wir mit Ihnen for us to be joyful that we can den Geburtstag unseres Festivals celebrate our festival’s birthday feiern können. Und es gibt noch with you. And there is more cause einen Grund zur Freude: In diesem for celebration: This year, as a Jahr wurde unserem Festival special recognition, our festival als besondere Anerkennung das received the EFFE label – Europe’s EFFE-Label verliehen, Europas mark of quality for outstanding art Gütesiegel für bemerkenswerte festivals. Kunstfestivals. 25 years of International Solo- 25 Jahre Internationales Solo- Dance-Theatre Festival – it’s a Tanz-Theater Festival – das ist number that we are proud of. It eine Zahl, auf die wir stolz sind. means that over all these years, Denn sie bedeutet, dass wir Sie, we have been able to inspire you, liebe Festivalgäste, über all die dear festival-goers, with contem- Jahre für den zeitgenössischen porary dance. We want to thank Tanz begeistern konnten. Wir all who have stayed with us and danken allen, die uns treu geblie- have supported us in many diffe- ben sind und – in welcher Form rent ways. Please look forward auch immer – unterstützt haben. with us to fascinating, touching Freuen Sie sich mit uns auf and inspiring dance theatre, and faszinierendes, berührendes und – in a positive sense – „moving inspirierendes Tanztheater und times”! im positiven Sinne „bewegte Zeiten“! 03 DONNERSTAG 13/5, 20.00 SAMSTAG 15/5, 20.00 THURSDAY SATURDAY

The pluralist, deconstructed, humorous body of her the EQ of the heart Choreography: Smadar Goshen (Israel) Choreography & Performance: Performance: Selina Koch (Germany) Tushrik Fredericks (South Africa)

Quelques-uns le demeurent Bunker Choreography & Performance: Choreography & Performance: Alexandre Fandard (France) Rebecca Margolick (Canada)

Overwhelmed CRUDA Choreography: Giulia Menti (Italy) Choreography & Performance: Performance: Gloria Gastaldon (Italy) Nnamdi Christopher Nwagwu (Italy/Nigeria)

Weary Blues Legaxy xx Choreography & Performance: Jonathan Reimann (Germany) Choreography & Performance: Breeanne Saxton (USA)

I need to … It Waits for no one Choreography & Performance: Clémence Juglet (France) Choreography & Performance: Abdelrahman Ahmed (Egypt) IVAR Choreografie & Performance: Gonçalo Reis (Portugal) The Tension of Nature Choreography & Performance: Andrea Ward (USA) FREITAG 14/5, 20.00 FRIDAY

There is somethin wrong in my head (?) Choreography: Melissa Zuccalà (Italy) Performance: Benedetta Cannolo (Italy) SONNTAG 16/5, 17.00 Single Choreography & Performance: SUNDAY Arnau Pérez de la Fuente (Spain) Grand Finale A Flash of Oblivion Choreography & Performance: Reiko Ohta (Japan)

+10 Choreography & Performance: Jeremy Alberge (France) Live on web:

FISSURAR www.treffpunkt-rotebuehlplatz.de Choreography & Performance: Geovan Conceição (Brazil) www.solo-tanz-theater.de

The Essence Choreography & Performance: Eva Urbanová (Slovakia) 05 DO THU 13/5, 20.00 The pluralist, ...

Photo: Gilles Aguilar Photo: Lior Skoury

Der vollständige Titel des Stückes lautet: „The pluralist, Das Stück ist inspiriert von Samuel Becketts Zitat „Wir sind deconstructed, humorous body of her“. Angeregt vom Phä- alle verrückt geboren, manche bleiben es“. Es erforscht die nomen der Objektifizierung des menschlichen, insbesonde- radikale Andersartigkeit, die in jedem von uns steckt. Die- re des weiblichen Körpers wirft das Stück Fragen auf zur ser Raum mit seinem absurden und poetisch-glänzenden Beziehung zwischen Selbstobjektifizierung und Intimität. Charme übt durch das Bild des Schwindels von Wahnsinn, Quelques-uns le demeurent Quelques-uns le demeurent gleichzeitig des Nichts, der Leere und unerschöpflichen The full title of the piece is „The pluralist, deconstructed, Quelle der Kreativität eine seltsame Faszination aus. humorous body of her“. Inspired by the phenomena of ob- Ein Paradox eingraviert in einen Körper, der sich aus dem jectification of the human body, and the feminine body in Nichts herauswindet, bevor es ihn überwältigt. In der Tiefe particular, the piece raises questions regarding the relati- der Dunkelheit, an der Grenze zwischen Vernunft und Un- on between self-objectification and intimacy. vernunft, entsteht Schöpfung, während der Körper kämpft.

Inspired by Beckett’s quote „We are all born crazy, some Smadar Goshen (Israel) remain so”, the piece explores a radical otherness, that • Trained at Jerusalem Academy of Music and dance which is in each of us. This room, with its obscure and • 2018 - 2019 Gaga teachers training program, trained under Ohad Naharin, luminously poetic charm exerts a strange fascination Suzanne Dellal, Tel-Aviv through the image of the vertigo of madness, at the same • 2009 - 2011 Dancer and 2012 choreographer at dance ensemble of time nothingness, emptiness and immeasurable source Jerusalem Academy of Music and dance of creation. Paradox inscribed in a body which extricates • 2015 Beijing Choreography competition • 2017 „Mama“ Choreography and dance for the JAMD itself from nothingness before being overtaken by it. In the • 2018 „Deception“ Choreography and dance for residency program depth of darkness, on the border between reason and un- Art accelerator Bulgaria-Israel reason, while the body struggles, creation is born. • 2020 „Peninsula Flora“ Choreography and dance, HuMBASE, Stuttgart

Alexandre Fandard (France) Selina Koch (Germany) • Visual artist and choreographer • Studied at the Centre of Contemporary Dance, Cologne, and the • Trained at International Dance Academy in Paris National Academy of the Arts, Oslo, and graduated 2019 • Performer in „Exhibit b” of theatre director Brett Bailey for three years, • Worked with choreographers and artists such as Katja Erdmann-Rajski, while continuing his work as a painter Goncalo Crunzinha, Livia Rita and the Avantgarderners Collective • Performer for La Cie de Soi by choreographer Redouhanne El Meddeb • Working with Smadar Goshen since April 2020 and performs in her in the creation „Heroes“ (Prélude) creations „Peninsula Flora“ and „Rocking women like rocks“ • 2017 Becomes a resident at Centquatre-Paris, where he will create his first solo „quelques-uns le demeurent“, awarded three times in France and abroad • Since 2019 performing in the new 2020 creation by Olivier de Sagazan

Choreography: Smadar Goshen Performance: Selina Koch Music: Fourtet / Emily Loizeau Choreography & Performance: Alexandre Fandard Music: Sérénade - Cold Song création sonore 07 DO THU 13/5,12/3, 20.0020.00 Weary Blues Overwhelmed

Photo: Giulia Furlani photography Photo: Sacha Grootjans

„Wir sind die ganze Zeit gelaufen, früher bombardiert von Das Stück geht der Frage nach, wie unterschiedliche Ska- unaufhörlichen Reizen, len der Körperlichkeit unterschiedliche Auswirkungen auf Roboterkünstler einer Multitasking-Gesellschaft. Bewegung haben. Welcher Input, welche Art der Intention Ein Leben voller Raserei, das in der heutigen Gefangen- ist notwendig, um Schritte oder Schrittmuster aus sich schaft Befreiung findet. selbst entstehen zu lassen? Wie erwächst aus diesem An- Eine „Ohrfeige“, die uns erstarren lässt und gleichzeitig satz natürlicherweise eine eigene Physis? „Weary Blues” aufrüttelt und uns die Chance gibt, von vorne zu begin- fragt zunächst, wo die Trennlinie liegt zwischen Improvi- nen.“ sation und Choreografie, und schlägt ein Ergebnis vor, das sich von jeglichen Definitionen befreit. „We used to run all the time, The piece investigates how different scales of physica- bombarded by incessant stimuli, lity have different impacts on movements. What input, Robotic performers of a multitask society. what kind of intention is necessary in order to let steps A life of frenzy that is freed today in captivity or step patterns emerge from themselves? How does this A „slap“ that immobilizes us and at the same time shakes approach naturally lead to an individual physique? Initially us and gives us a chance to start over.“ wondering where lies the line between improvisation and choreography, „Weary Blues“ suggests a result that‘s free of definition Giulia Menti (Italy)

• Studied as a freelance around Europe (Marameo, Tanzfabrik, Landerer & Co, Danseatelier etc) Jonathan Reimann (Germany) • Teacher, freelance dancer and choreographer, selected in many inter- national festivals such as Jerusalem International Choreography • Trained at Hamburg Ballet School, Palucca School Dresden and finished competition (3prize choreography), Solocoreografico,Solo Contempo- his studies at Arts Umbrella, Vancouver rary Dance Cagdas, TanzOFFensive, PRISMAPanama, etc. • Professional experiences at NDT summer intensive, Aalto Ballet • Manager of Esklan direct by E. Silgoner and distributor for Theater, projects among others with Jone San Martin DANCEHAUSpiù, director of Sinedomo Dance District with L. Tonin and • Created own choreographic works, among others for the Arts Umbrella E. Zanrosso Apprentice Company • Since 2020 Guest teacher at Tanzhaus NRW • Awarded with scholarships from „Studienstiftung des Deutschen Gloria Gastaldon (Italy) Volkes“ as well as from „Konrad-Adenauer-Stiftung“ • Won the 1st prize at „Tanzolymp Berlin“ in the category ‚Contemporary‘. • Studied as a freelance in Italy and abroad (CSC Bassano, Sinedomo, Balletto di Roma, Chassé Dance Studio, Balletto di Toscana, AED Livorno, etc.) • Constantly weekly follow workshops and masterclasses of advanced level in Europe, with both emerging artists and choreographers of international fame Choreography: Giulia Menti Performance: Gloria Gastaldon by Forest Swords, OCT (Origin 2004) Solar Fields Music: Shrine Tooth Choreography & Performance: Jonathan Reimann Music: Madeleine Peyroux, „Sorry About the Carpet” – Agar 09 DO THU IVAR 13/5, 20.00 I need to ...I need

Photo: Photo: Guido Bosua

Die Zeit macht uns besessen, versetzt uns in Schrecken, „Wir sehen einen Menschen namens Ivar auf einer Reise. macht uns Schuldgefühle und provoziert ein Gefühl der Die Zeit vergeht, während er sich langsam hinter seiner Dringlichkeit. Wir wollen die Zeit immer wieder optimal Gruppe herschleppt. Voller Wut und Enttäuschung erreicht nutzen, bis wir zufrieden sind, und dann, hungrig nach dem er endlich das Rudel. Es ist die ultimative Befriedigung, Besten, wiederholen wir dieses Muster auf unbestimmte diesen Punkt zu erreichen. Als er nach vorne blickt, sieht Zeit. Wir sind in einem Wettlauf gegen die Zeit gefangen, er eine Lichtung ... einen Pfad ... irgendwo hin, noch nicht in dem wir uns verausgaben. Wir hören nicht auf zu versu- definiert ...““ chen, der Zeit Herr zu werden, aber das ist nur eine Illu- sion. Man muss ein idealisiertes Selbstbild bewahren, bis „We see a character named Ivar on a journey. Time pas- zu dem Punkt, an dem man den eigenen Wert und Reich- ses, dragging ever so slowly behind the group. Filled with tum zugunsten der Arbeit ignoriert. rage and disappointment, he eventually reaches the pack. It is the ultimate satisfaction to finally reach this point. As Time obsesses us, terrifies us, makes us feel guilty and he looks ahead, he sees a clearing.... a pathway...to some- provokes a sense of urgency. We want to make the most of where, not yet defined…“ this time again and again, until we are satisfied, and then, hungry for the best, we repeat this pattern indefinitely. We are trapped in a race against time, in which we exhaust Gonçalo Reis (Portugal) ourselves. We never stop trying to master time, to control it, but this is only an illusion. One must maintain an idea- • Studied at Codarts Rotterdam, where he danced in creations by the choreographers Hofesh Shechter, Marco Goecke, Cayetano Soto, lized image of oneself, to the point of ignoring one‘s own Jirí Kylian and Stephen Shrosphire value and wealth in favour of work. • 2017 Participation at 21. Internationales Solo-Tanz-Theater Festival Stuttgart with his creation „Who I am is not…” • 2019/2020 Part of Tanz Luzerner Theater, where he work with choreographers such as Gustavo R. Sansano, Kinsun Chan, Ella Clémence Juglet (France) Rothschild, Caroline Finn, Jasmine Morand and Michael Langeneckert • Currently working as a freelance dancer, choreographer and teacher • Trained at Espace Pléiade professional dance school in Paris, within Sabrina Lonis‘s dance classes and at Steps in New-York • 2015 Dancer in the movie „La danseuse“ with Soko and Lily-Rose Depp • Danced for various companies such as Cie 131 of Katia Lharaig, Cie LA of Lotte de Weert, Cie Anybody of Karim Naar and the collectif Ongaeshi • 2018 Choreographed her first solo „The Other“ and performed it in several competitions and festivals in France and abroad • 2019 Joins ElectroStreet. She co-choreographs „Pardon!“ with her stage partner Emilie Joneau. The Cie OUPS is founded • 2020 Choreographed her new solo „I need to...“ with Robin Betelu

Choreography & Performance: Clémence Juglet by Robin Betelu / Wednesday“ Music: „Tuesday Choreography & Performance: Gonçalo Reis by Wardruna Music: „Algir - Tognatale“ 11 FR FRI Single Single 14/5, 20.00

Photo: Alex L. Gulino Photo: Diego Pérez

Freely inspired by the poetry of Edith Södergran In der Musik ist eine Single ein Vinylformat, das für den „A neutral thing“ kommerziellen Vertrieb verwendet wird und den oder die I’m not a woman. I’m a neutral thing. Hits einer LP enthält. Diese Singularität wurde betont und I am a child, a pageboy and a bold decision, der Begriff als persönliches „Schaufenster“ eingeführt, am a ray of sunshine laughing scarlet. das die Individualität im Mainstream hervorhebt. Wir I am a fishing net for all the voracious fish, haben uns an die Verbindung von Erfolg oder Leistung I am a glass in honor of all women, mit Individualität gewöhnt und uns in einer Entwicklung I am a step towards the case and ruin, etabliert, die aus der persönlichen Suche hervorgeht. Im am a leap in freedom and self. Moment sind wir von Menschen umgeben, aber sind wir I’m the whisper of the blood, in the ear of man, nicht allein? I am a fever of the soul, the flesh desire and rejection, I am a nameplate at the entrance to new havens. In music, a single is a vinyl format used for commercial I am a flame, looking lively, distribution, that contained the hit song or songs from an

There is somethin wrong in my head (?) There somethin is wrong my in head I am water, bases, but bold to the knee, LP. That singularity has been emphasized and the term has I am fire and water into loyal relationship, and without been established as a personal showcase, highlighting conditions. individuality in the mainstream. We have gotten used to the association of success or achievement with individu- ality, establishing ourselves in a development that arises Melissa Zuccalà (Italy) from the personal and the own search. Right now we are surrounded by people, but aren‘t we alone? • 2017 + 2018 Directed the contemporary dance department of the PAS performing arts studios in Piazza Armerina • 2017 Founded SBAM dance connection • Since 2019 freelance contemporary dance teacher and choreographer Arnau Pérez de la Fuente (Spain) for advanced courses and professional training centers • Director of his own dance project based in Madrid • Won numerous awards and honors for choreography • Selected by the Acieloabierto net in 2018 and 2020. His works have been • 2020 Debut with the new production „WATERPROOF“ at the Garibaldi danced in countries such as Costa Rica, United States, Italy, Germany Theater in Enna. Joined the CRESCO project (coordination platform of and around the whole Spanish country the realities of the contemporary scene). In October 2020 the new • 2019 Resident at the Canal Choreographic Center creation „Chicken soup for the soul“ is selected for an artistic redidenza • 2020-2021 Conde Duque Contemporary Ats Center, Estruch creation with final performance at the Siena Ballet factory, SIT Gran Canarias, Choreographic Center of La Gomera

Benedetta Cannolo (Italy)

• Since 2018 soloist at SBAM dance connection • 2019 Winner of the SICILY international competition in Caltanissetta • 2018 Finalist of the „Italy Dance Award“ competition in Rome • 2017 Winner of the „Grand Prix“ competition in Rome Choreography: Arnau Pérez de la Fuente Performance: Christian Leveque Toromecánico and Casasnovas (Madam Butterfly Remix) by Music: „Trapperfly“ Choreography: Melissa Zuccalà Performance: Benedetta Cannolo BiosphereMusic: 13 FR +10 FRI 14/5, 20.00

Photo: De Schaapjesfabriek (20) - Tessa Veldhorst Photo: De Schaapjesfabriek (20) - Tessa Photo: Gilles Aguilar A Flash ofA Flash Oblivion

Der menschliche Verstand ist sehr komplex. So komplex, Was behalten wir von jemandem, der uns verlassen hat? dass wir die Fähigkeit besitzen, uns in der Zukunft zu sehen, Jede Trennung hinterlässt eine Narbe. Aber was bleibt weshalb wir heute für ein besseres Morgen handeln kön- wirklich über all die Jahre? Wie kann etwas wie Verlust, nen. Gleichzeitig macht uns das Sorgen und Schuldgefühle dessen Existenz universell anerkannt ist, sich so isolierend und es fällt uns schwerer, im Moment zu leben. Was wäre, anfühlen? „+10“ ist eine Selbsterforschung der letzten wenn wir die Komplexität unseres Verstandes vereinfachen zehn Jahre von Jeremy Alberges Leben, beginnend mit könnten? Wir kommen an einen friedlichen Ort, wo wir in un- dem Tod seines Vaters. Die Aufarbeitung war anfangs mit serer Umgebung aufgehen. Wir verlieren das Bewusstsein den emotionalen Schwierigkeiten konfrontiert, einen ein- unseres Selbsts, wie ein Baum, der sich seiner Wurzeln und schneidenden Übergang im Leben zu akzeptieren, denen Zweige nicht bewusst ist. Alles läuft flüssig und nichts geht zuletzt ein Weg hin zu Akzeptanz und Sublimierung folgte. schief, wenn es kein „Versagen“ gibt. Es gibt nur Zeit und Raum, aber gibt es ‚uns‘ immer noch? What do we keep from someone that has left us? Any separation leaves a scar, but what really stays with us Human mind is so complex. It is so complex that we’ve got through the years? How can something like loss, which is the ability to project ourselves in the future, which enables universally acknowledged, still feel so isolating? us to act now for the better future. But simultaneously „+10” is a exploration of the past ten years of Jeremy’s life that’s what makes us worry, hesitate and regret, and ma- followed by the loss of his father. The research has been kes it harder for us to live in the moment. facing an emotional struggle at first, to accept and process What if we could degrade the complexity of our mind? We a significant passage in life, which followed most recently arrive to a peaceful place where we melt into the surroun- by a journey on acceptation and sublimation. ding, and disappear. We lose the sense of self, like a tree doesn‘t recognize its roots and branches. Everything flows and nothing fails, when ‘failure’ doesn‘t even exist. There Jeremy Alberge (France/Israel) is only time and space, but is there still ‘us’? • 2010 Joined Blanca Li Dance Company for two seasons • 2013 - 2015 Joined the Junior Ballet Geneva and worked with choreographers such as Hofesh Shechter, Osnat Kelner, Wayne Reiko Ohta (Japan) McGregor, Barak Marshall, Roy Assaf, Cindy Van Acker and Stijn Celis • 2015 - 2017 Danced with Inbal Pinto & Avshalom Pollak Dance • 2015 Studied at Royal Swedish Ballet School Company in Israel • 2016 Entered Codarts Rotterdam • 2017 Vertigo Dance Company, two years on a full contract and • Took part in an international tour and danced in pieces by Cayetano free-lancing since then Soto, Marco Goecke and Hofesh Shechter • Since May 2019 Joined Roy Assaf Dance and performed the works • 2015 and 2018 Participation in the summer intensive by Nederlands Dans „The Hill“ and „Boys“ in several countries Theater, where she worked with Jirí Pokorny and Dimo Milev for their • Since June 2020 Performed Adi Boutrous new creation new creations „One More Thing“ • Completed her internship with Scapino Ballet Rotterdam and now is • Work as a teacher among others in China, The United fresh graduated Choreography & Performance: Reiko Ohta Music: The Black Dog, Diggs Duke, Susumu Yokota Choreography & Performance: Jeremy Alberge Music: Ludwig van Beethoven States, Canada, France, Russia, Italy and Israel 15 FR FRI 14/5, 20.00 FISSURAR The Essence Geovan Conceição Geovan

Photo: Photo: Petr Kiška

„Ich wollte ein Stück schaffen, das die Erfahrungen auf- Made from the playfulness and from the dirt zeigt, die ich in meiner Kindheit im „Citex Slum“ im nord- Made from the sparkles and the thorns östlichen brasilianischen João Pessoa in Paraíba gemacht Made from the fear and from the madness habe. Die Choreografie ist beeinflusst von Gewalt, Mord Made from the speed and elegant wilderness und physischem und psychischem Missbrauch, insbeson- Made from the pride and stubborn choices dere gegenüber Frauen und Kindern. Ich war umgeben von Alkoholikern, Süchtigen und Drogenhändlern. Ich habe Made from the sticky gelatin and pink roses and dark mo- überall Angst, Hunger, Schutzlosigkeit, Verlassenheit, ments and creepy faces and Armut, Krankheit und Wahnsinn erlebt und gesehen. jumping… Dieses Werk ist entstanden, um anderen die schreckliche Realität zu zeigen, der ich, wie viele junge Brasilianer, be- Made from the courage and ease to fall in love gegnet bin. Wir haben das Recht auf ein gutes Leben.“ But they wanted to change me „I wanted to create a piece that addresses the experien- They wanted to break me and burn me ces I had during my childhood in the ‘Citex slum’ located in But I said no and started to shake me the Northeastern Brazilian city of João Pessoa, Paraíba. And danced in my own way The choreography is inspired by violence, homicides, and physical and psychological abuse especially towards wo- And then I came here men and children. I was surrounded by alcoholics, addicts, I came here to find my own essence again and drug trafficking. I experienced and saw fear, hunger, lack of protection, abandonment, poverty, disease and madness everywhere. This work was created to show Eva Urbanová (Slovakia) others the terrible reality I faced along with many other young Brazilians. We can have the right to a good life.“ • Started her dance career as a member of the professional acrobatics group Axel Artist • 2014 - 2020 Studied for a bachelor and master degree in choreography Geovan Conceição (Brazil) Conceição Geovan at the Academy of Performing Arts, Prague. Geovan Conceição (Brazil) • Spent an exchange year at the Trinity Laban Conservatoire of Music and Dance, London • Started his dance career at Bolshoi Theater School in Brazil and worked • Working alongside Japanese choreographer Yukio Suzuki, Slovak with famous dancers Vladimir Vasiliev and Ekaterina Maximova choreographer Petra Fornayová and among others • Danced with with Russian Bolshoi Stars Ivan Vasiliev and Natalia • Cooperated as a choreographer with the Dance Conservatoire Prague, Osipova in Joinville - SC Janacek Conservatory in Ostrava and junior dance company Bohemia • Danced in „Don Quixote“, „Prince Igor“ and „Giselle“ Balet • Works as a teacher at the Theatro Santa Roza • 2019 Eva was chosen as a young choreographer to create for the • Joined the Marist Center of Art and Culture and the State Center of Art Central European Dance Theatre • 2014 - 2019 Attended the higher education course in dance at the • Her work „Women of dust“ was chosen to be presented Federal University of Paraíba and started researching contemporary at the Mala Inventura festival 2020

Choreography & Performance: Music: „The Garden - Lorn & Dolor“ by Dolor dance Choreography & Performance: Eva Urbanová by Aid Kid Music: „Vera“ 17 SA SAT

Bunker 15/5, 20.00

Photo: Dustin August Photo: Chris Randall

the EQ of the heart

„the EQ of the heart“ (emotionale Intelligenz) ist ein Solo, „Gedächtnis durch den Körper und Generationen erfahren: das auf die Reichweite des Herzens als Muskelorgan hört. Dieses Solo wurde von meinen Archivrecherchen über Dieses Organ ist der Ort, der für die Verstärkung unserer die Frauen beeinflusst, die von 1899 bis 1950 in der 92nd Gefühle als Reaktion auf Reize oder Situationen verant- Y Residenz und im Clara de Hirsch-Heim für berufstätige wortlich ist. Wenn wir auf unser Herz hören, kann uns das Mädchen in New York City wohnten. Das Solo verkörpert zur Entdeckung des Potenzials führen, das in uns liegt, und visualisiert Erinnerungen an diese Frauen sowie meine während wir auch anerkennen müssen, dass die emotiona- eigenen Erinnerungen.“ le Intelligenz sehr sensibel und eine weite Landschaft ist, die alles um uns herum umfasst. „Memory experienced through the body and generations; this solo was influenced by my archival research on the „the EQ of the heart“ (emotional intelligence) is a mo- women who resided at the 92nd Y Residence and The Clara vement solo which listens to the range of the heart as a de Hirsch home for Working Girls from 1899-1950 in New muscular organ. The organ being the place which is res- York City. „Bunker“ embodies and visualizes memories of ponsible for the amplification of our feelings in response to these women, as well as my own.“ stimulus or situations. Listening to the heart can guide one to the discovery of the potential that lies within oneself - while acknowledging that the emotional intelligence is Rebecca Margolick (Canada) very sensitive and a vast landscape which encompasses everything around us. • Dancer and choreographer based in Brooklyn NY • Trained at Arts Umbrella in Vancouver and graduated from New York University, Tisch School of the Arts, with a BFA in Dance • Her multi-disciplinary and solo works have been presented in Poland, Tushrik Fredericks (South Africa) Bulgaria, Israel, Seattle, San Diego, Montreal, Vancouver, Wells BC, Mexico City and NYC • 2015 Graduated at Peridance Capezio Center Certificate Program in NYC • Currently working with Kayla Farrish’s Decent Structures Arts where he received most of his formal training • 2020 New Directions Choreography Lab Fellowship at the Ailey School • 2015 - 2018 Worked with Ate9 dANCEcOMPANY and Sidra Bell Dance and artist in residence at the Dance Deck in Vancouver New York • 2019 Her solo „Bunker + Vault“ won the Jury Prize for “Best indoor • 2016 - 2018 Assistant lecturer to Sidra Bell at The University of the Arts choreographic work” at Festival Quartiers Danse in Montreal Philadelphia for Sophomore students • 2019 Dance Artist in Residence at The Banff Centre for the Arts • Currently working with TRIBE (artistic director/founder Shamel Pitts) • 2012 - 2016 Danced with Sidra Bell Dance New York • Currently a member of Chuck Wilt’s UNA Productions • As a freelance dancer she has worked with a number of artists including Kayla Farrish, Allen Kaeja, Patricia Norowol, Jerome Bel, Derrick Belcham, Emily Terndrup, Maya Orchin, Shay Kuebler, Donald Sales and Barak Marshall

Choreography & Performance: Tushrik Fredericks Choreography & Performance: Tushrik Amadeus Mozart, London Phil Krtm, Wolfgang Music: Varg, and Bvdub harmonic Orchestra, Franz Welser-Möst Choreography & Performance: Rebecca Margolick Music: „All Melody“ by Nils Frahm 19 SA SAT

CRUDA 15/5, 20.00 Legaxy xx

Photo: Jasmine Ellis Projects Photo:

„CRUDA ist eine Reise zu meinem afrikanischen „Legaxy xx“ ist eine multimediale Tanztheaterarbeit, die Ursprung, ausgehend vom spirituellen Gebet, einem durch das angeborene Geschlecht entstandene Verwick- Gespräch mit meinem inneren Selbst, das die westliche lungen entwirren möchte. Die Performance fädelt sich Welt durchquert, die mich immer von meinen Wurzeln ent- durch den kollektiven Real-Mythos des „Thronfolgers“ fernt hat. Die Art der Bewegung ist von den Worten meiner und die Auswirkung, die diese Geschichten auf junge Men- Mutter inspiriert: Wir müssen unsere Herkunft kennen, um schen haben, die sich als weiblich identifizieren. der Zukunft besser begegnen zu können.“ „Legaxy xx“ bietet alternative Realitäten der Erziehung, die Qual, sich in seinen Kindern zu sehen, und das Grauen, „CRUDA is a journey towards African origins which ap- ein Kind zu begraben. Diese Arbeit hinterfragt unser kol- pertain to me, starting from the spiritual prayer, a conver- lektives Erbe. In welche Art von Gewalt gebären wir unse- sation between my inner self crossing the western reality re Kinder? Rechnen Sie mit der Groteske der Kindkönige. which has always distanced me from my roots. The quality Dies ist für die Mädchen, die als Könige geboren wurden. of the movement is inspired by the words of my mother. We need to know our origins to face better the future.“ „Legaxy xx“ is a multimedia dance theater work which unravels the implications of the inheritance of gender. The performance weaves through the collective reali-myth of the Nnamdi Christopher Nwagwu (Italy/Nigeria) „heir to the throne” and the impact that these stories have on • Started training in a monthly program with the company „Kaos Balletto young femme identifying people. „Legaxy xx“ offers alter- di Firenze” in Florence native realities of parenting, the torment of seeing yourself • Currently studiing at „Professione Danza Parma”, where had the chance in your children, and the horror of burying a child. This work to perform in several competitions and festivals around the world questions our collective legacy. Into what kind of violence are (among others Yagp, Tanzolymp, International summer galá, Livorno- festival, Italian dance award) we birthing our babies? Reckon with the grotesqueness of • 2018 Attended the summer program of the Alvin Ailey American Dance child royalty. This is for the girls who were born to be kings. Theater in New York and performed the repertoire as a Solist • Started to create own choreographies because he want to give a voice Nnamdi ChristopherNnamdi Nwagwu of his mind SaxtonBreeanne Breeanne Saxton (USA) • Winner of The Youth American Grand Prix and as a choreographer winner of „YAGP Oustanding choreographer Award” • Bachelor of Fine Arts in modern dance from the University of Utah in • 2019 His choreography Labels won ad best choreography at Livorno Salt Lake City, USA Festival • A Berlin based physical artist and teacher whose work seeks to make the theatrical physical while incorporating a variety of mediums • 2019 European choreographic debut at the Art Lake festival with sci-fi evening length work „ACKNO“ • Over the last five years produced six individual solo performances

Breeanne SaxtonBreeanne which were performed around the USA • Worked as a dancer among others with Ririe Woodbury Dance Company, Alberto Del Saz of the Murray-Louis

Choreography & Performance: Music: Afro Celt Sound System & Dorothee Munyaneza, Desh, El Fog Choreography & Performance: Music: Foundation, Steve Koester, Tzveta Kasabova 21 SA SAT 15/5, 20.00

Photo: Mike Esperanza Photo: Bassam Alzoghby It Waits one for no

„Ich habe so lange gewartet. Er ist immer an mir vorbei „The Tension of Nature“ stellt unnachgiebige Spannungen

gezogen, als ich auf den richtigen Moment gewartet habe. of Nature The Tension als eine Naturgewalt in uns dar, die uns dazu antreibt, uns Einmal kam dieser Moment, aber es war bereits zu spät. Da andauernd zu bewegen und uns aufzeigt, dass wir uns realisierte ich, dass er auf niemanden wartet“ nicht selbst entkommen können. In dem Stück wird Span- nung als Angst verkörpert, die zugleich auch eine Faszina- „I have waited so long. It‘s always past me waiting for the tion ausübt. Der Punkt, an dem Spannung für uns schwer right moment. That moment came once, but it was already erträglich wird, ist gleichzeitig die Verbindung zu unserer too late. There I realized that it wasn‘t waiting for anyone.“ leidenschaftlichen und nie endenden Liebe zum Erschaf- fen, Ergründen und der Suche nach Neuem.

„The Tension of Nature” is a solo performance depicting Abdelrahman Ahmed (Egypt) relentless tension as a vigorous force of nature within • 2019 Graduated from MAAT|CCDC Cairo Contemporary Dance School, us that pushes us to continue moving, and shows us that • 2019 Choreographed and performed a solo dance performance called there is no escape from ourselves. In this work, tension is „It waits for no one” embodied as an anxiety, and at the same time, a fascina- • 2019 Performed in „We are coming back after everybody”, choreo- graphed by Amina Abouelghar, „Hoop-om-on-ay”, choreographed by tion. The point of tension at which we struggle is also our Nicolas Cantillon, and „Troubled Butterflies”, choreographed by Islam connection to our impulsive and undying love for creating, Elnebishy understanding, and seeking novelty. • 2018 Performed in „Fluttering”, choreographed by Ibrahim Abdo

Andrea Ward (USA)

• A contemporary choreographer from New York City • Before Covid-19, she had produced an evening length debut and planned to teach dance workshops throughout Europe • Teaches at the Hub Studios London

Abdelrahman Ahmed • Performed as a featured artist in TEDx at the Phillips Center and as a resident choreographer at the Center for World Arts in Florida, where she presented works on the Syrian Refugee crisis, Environmentalism, Genderism, and Native American heritage • Works for the Columbia Ballet Collaborative at Columbia University, and for LEON Dance Arts in Houston, where her work premiered in the prelude for Alvin Ailey. • Composes her own music and is currently recording her album titled „Planet” • Her underwater dance film „World of Forms” has screened in New York, Paris, London and Sweden

Choreography & Performance: Gidon Kremer Hecker, Music: Ólafur Arnalds & Nils Frahm, Tim Choreography & Performance: Andrea Ward Bednarczyk Music: „Drawing“ by Tomasz 23 Jury 25 Years International Solo-

An independent jury, representing a variety of dance gen- Dance-Theatre Festival res, will judge the dance proficiency, musical and dramatic composition, the style and the creative potential. Stuttgart

Can Arslan (Germany/Turkey) An interactive brochure will be published for the anniver- Ballet director and choreograph Nordharzer Städtebund sary festival, in which those interested in dancing can take Theater a look behind the scenes and experience firsthand how former award winners experienced the festival and what Cristina Castro (Brazil) the prize has achieved for their dance careers. Choreographer, director and artistic director Vivadança lnternational Festival

Iván Pérez (Spain) Artistic director of Dance Theatre Heidelberg

Ahmed Soura (Burkina Faso) choreography 35 – Choreographer, artist and director YONGONLON International Choreographic Competition Hannover, 2. and 3. July 2021 Noa Wertheim (Israel) Artistic director Vertigo Dance Campany For the 35th time, the International Choreographic Com- petition Hannover, Europe‘s most important platform for young choreographic talent, invites you to Hannover. The competition has developed into the center for young choreographers worldwide.

During these two days, Hannover will become a meeting Preise / Awards place for an internationally forward-looking dance scene. Every year, more than 300 choreographers from over 50 Choreography sponsored by countries apply. 20 entries will be invited to the competi- 1st prize EUR 3.500 Ministerium für Wissen- tion and thus more than 100 young dancers from all over 2nd prize EUR 2.500 schaft, Forschung und the world will travel to Hannover to present their works to 3rd prize EUR 1.500 Kunst Baden-Württemberg both a curious audience and the top-class jury. Performance sponsored by Current information: www.choreography-hannover.de 1st prize EUR 3.500 City of Stuttgart 2nd prize EUR 2.500 Stiftung Landesbank Baden-Württemberg 3rd prize EUR 1.500 City of Stuttgart Public‘s First Choice Award sponsored by EUR 500 Nicole Weyandt, Michael Deiml Public‘s Final Choice Award sponsored by EUR 500 Christine Gugel

Residence Prize Nordharzer Städtebund Theater

Assistance Prize Dance Theatre Heidelberg

25 Ausstellung / Exhibition „Solo = Alleine“ Tanzfotografien von Gert Weigelt 08.02. – 16.05.2021

Gerhard Bohner / photo: Gert Weigelt In der Fotoausstellung des ehemaligen Tänzers und Tanz- fotografen Gert Weigelt, der 2019 als erster Fotograf den Deutschen Tanzpreis erhielt, geht es um den Solotanz. Bis auf zwei Ausnahmen sind auf den Bildern Choreograf/innen zu sehen, die ihre Soli selbst vortragen: Susanne Linke, Gerhard Bohner, Reinhild Hoffmann, Lina do Carlo und Urs Dietrich. Ausnahmen sind das berühmte Martha Graham Solo (1930), interpretiert von der Tänzerin Camille Andriot, und Hans van Manens „Solo“, dargestellt von drei Tänzern, die das Solo unter sich aufteilen. „Auch wenn durch die Coronakrise immer mehr Choreograf/ innen (nolens volens) gedrängt werden, für Mini-Besetzun- gen zu choreografieren, bleibt das getanzte Solo eine Königsdisziplin im Tanz. Selbst für die Besten eine große Herausforderung“, so Gert Weigelt.

The photo exhibition of former dancer and dance-photo- Martha Graham / photo: Gert Weigelt grapher Gert Weigelt, who in 2019 was the first photogra- pher to receive the German dance award, revolves around solo dance. Baring two exceptions we see choreographers who present their own solos, such as Susanne Linke, Gerhard Bohner, Reinhild Hoffmann, Lina do Carlo und Urs Dietrich. An exception is the famous Martha Graham solo (1930), interpreted by the dancer Camille Andriot; another is Hans van Manens „Solo”, performed by three dancers dividing the solo between them. „Even if more and more choreographers are being urged (willy-nilly) to choreograph for mini-casts due to the corona crisis, the danced solo remains a supreme discipline in dance. A great challenge even for the best“, says Gert Weigelt.

Ausstellung im Foyer Robert-Bosch-Saal, 1. OG

27Susanne Linke / photo: Gert Weigelt Thanks to our sponsors

Christine Gugel, Nicole Weyandt, Michael Deiml

Festivalpartner © Yakup Zeyrek MÄHYRRÄ

Impressum / Credits

Dennis Eliseev, Jutta Kögel Ausstellung / Exhibition Katharina Früh Redaktion / Editorial staff Nicola Schwarz

Tin Yeung Huen Jo Grabowski PRODUKTIONEN / PROJEKTE / ENSEMBLES KURSE / WORKSHOPS / FORTBILDUNGEN BÜRGERTHEATER

Tanz- und Theaterwerkstatt e.V. im Kunstzentrum Karlskaserne Ludwigsburg www.tanzundtheaterwerkstatt.de 29 02 Liebe Festival- MITTWOCH 12/5, 20.00 Gäste, / Dear WEDNESDAY Festival Guests, SHUNYA SMARA - Leere Sehnsucht Isabell Ohst Choreography & Performance: Katrin Zimmermann Produktionszentrum Tanz und Performance e.V. SOLILOQUE DANSÉ Choreography & Performance: Yahi Nestor Gahé im letzten Jahr wurde das Inter- Last year, the ISTT was expanded nationale Solo-Tanz-Theater by the Stuttgart-Day „Stuttgart Unknown Mist Festival um den Stuttgart-Tag Solo Choreo”. The event allows Choreography & Performance: Petra Stransky Stuttgart Solo Choreo erweitert. you to discover new regional Show Business - On the showing of business and Diese Veranstaltung ermöglicht talents from Stuttgart’s dance the business of showing es Ihnen, neue Talente der scene, who have a permanent re- Choreography: Catherine Guerin regionalen Stuttgarter Tanzszene sidency here and who, aside from Performance: Pascal Sangl zu entdecken, die dauerhaft vor the festival, regularly perform on Ort sind und auch außerhalb des the city’s stages. The pieces you LEbensSpiel - Choose your juice Festivals auf den Bühnen der can see on that day run outside Choreography & Performance: Marleen Streicher Stadt auftreten. Die Stü cke, die of competition and are not being Sie an diesem Tag sehen, laufen awarded. Um pouco mais de amor - Ein bisschen mehr Liebe außer Konkurrenz des Wettbe- Choreography & Performance: Gonçalo Cruzinha werbs und werden nicht prä miert. I am delighted that, this year, the independent dance scene in Ich freue mich, dass die Stuttgar- Stuttgart is again given its own TREFFPUNKT Rotebühlplatz ter Freie Tanzszene mit diesem platform, where it can demons- Rotebühlplatz 28, 70173 Stuttgart Format auch in diesem Jahr ein trate its strength and diversity. Ticket prices: EUR 16,- / 12,- eigenes Podium bekommt, auf We owe this event to TANZPAKT www.produktionszentrum.de dem sie ihre ganze Stä rke und Stuttgart, an alliance of six part- Booking offi ce: 0711/1873-800 Vielfalt prä sentieren kann. Zu ners, which are being funded by verdanken haben wir die Veran- TANZPAKT Stadt-Land-Bund with Kuratoren/Curators: Isabell Ohst, Marcelo Santos, staltung TANZPAKT Stuttgart, funds from the Federal Covern- Gudrun Hähnel, Petra Mostbacher-Dix, Birgit Brinkmann einem Zusammenschluss von ment Commissioner for Culture insgesamt sechs Bü ndnispartner/ and Media, special program NEU- Moderation/MC: Petra Mostbacher-Dix innen, die durch TANZPAKT START and the State Capital of Stadt-Land-Bund aus Mitteln der Stuttgart. Beauftragten der Bundesregie- I thank all patrons, especially rung fü r Kultur und Medien sowie Marcelo Santos and Gudrun Thanks to our sponsors dem Sonderprogramm NEUSTART Hähnel, who represent the Inter- Gefördert von TANZPAKT Stadt-Land-Bund aus Mitteln der Beauftragten der Bundesregierung für Kultur und KULTUR und der Landeshaupt- national Solo-Dance-Theater Fes- Medien sowie dem Sonderprogramm „NEUSTAR KULTUR“ (BKM) und der Landeshauptstadt Stuttgart. stadt Stuttgart gefö rdert werden. tival Stuttgart and look forward Ich danke allen Fö rderern, ins- to an exciting festival night – this besondere Marcelo Santos und year hopefully ‘live’ at long last. Gudrun Hähnel stellvertretend für das Internationale Solo-Tanz- Theater Festival Stuttgart, und freue mich auf einen spannenden Festivalabend – hoffentlich in diesem Jahr endlich live.

MI WED 12/5, 20.00

Photo: Tom Pohl Photo: Tom Photo: Dominique Brewing

SOLILOQUE DANSÉ Das Stück ist die Verarbeitung der Leere und der Sehnsucht. Wer bin ich? Wohin gehe ich? Und auf welche Art und Es nimmt Bezug auf tief begründete Emotionen und den Weise tue ich das? „Soliloque dansé“ ist ein tänzerisches Umgang damit, übertragbar auf die gesamte momentane Selbstgespräch, eine Selbstreflexion über existenzielle Situation. Das Verlassen der Komfortzone. Ein hilfloser Zu- Themen wie Gesellschaft, Gruppen und ihren Bezug zum stand. Dann, ein Lichtblick? Für kurze Zeit kann man spüren, Individuum. Es ist eine künstlerische und wissenschaft- was man braucht, was einem fehlt und wonach man sich liche Recherche, die den ganzen Körper einbezieht. Wie sehnt. Für einen kurzen Augenblick darf man es leben. Und funktioniert ein Soliloque, abgesehen vom Theater, im dann – plötzlich ist es wieder weg. So wird das gerade noch Tanz? Welche Elemente machen diese Form des Aus- Gelebte zu einem Schatz, den man mit sich trägt. Was tun? drucks möglich? Wie wird das Publikum in einen solchen

Shunya Smara – Leere Sehnsucht Smara Shunya Festhalten? Loslassen? Leere. Aus der Leere entsteht Sehn- Monolog ohne Worte involviert? sucht. Die Sehnsucht nach ... Who am I? Where am I going? And in what way am I doing The piece is the processing of the emptiness and the lon- it? „Soliloque dansé“ is a dance soliloquy, a self-reflection ging. It refers to deeply rooted emotions and how to deal on existential themes such as society, groups and their with them, transferable to the whole momentary situation. relation to the individual. Soliloque dansé is an artistic and Leaving the comfort zone. A helpless state. Then, a ray of scientific research, involving the whole body. In doing so, hope? For a short time, one can feel what one needs, what the dancer asks the question of how a soliloque, apart from one lacks and what one longs for. For a short moment you theater, works in dance. What are the elements that make are allowed to live it, to be true. And then - suddenly it‘s this form of expression possible? How is the audience in- gone again. So the just lived becomes a treasure that you volved in such a monologue without words? carry with you. What to do? Hold on? Let go? Emptiness. From emptiness comes longing. The longing for … Yahi Nestor Gahé (Ivory Coast/Germany)

• Freelance dancer, choreographer and dance educator in Stuttgart Katrin Zimmermann (Germany) and worldwide • Graduate of acting and dance school in Abidjan, Ivory Coast • Focus on Ballett, Contemporary dance and Yoga • MA in Art and culture project design – Graduate of University • 2007 certified dance pedagogue, IWANSON Munich of Strasbourg • 2015 certified Yoga teacher, Stuttgart • Educated as dance educator at Akademie Off-Theater, Düsseldorf • 2017 developed and now teaching her own method YOMO (Combination • Performer at Instant PIG // Stuttgart, choreographic director of Yoga and Dance), yomo-dance.de of freie bühne Stuttgart • Freelance dancer, performed in and around Stuttgart • Worked as a freelancer with Theater Tri-Bühne Stuttgart, • 2019 developed her own short-piece „marga“ for Landesmuseum FITZ Theater, Forum Schloßpark Ludwigsburg – Rainer Kittel, Stuttgart Sawako Nunotani, Yolanda Gutiérres, Edith Körber, Axel Braun, Tanzfestival Bielefeld and more Choreography & Performance: Katrin Zimmermann Music: „Sunday“ von René Aubry & „Le Vide est ton nouveau prenom“ von La Femme Choreography & Performance: Yahi Nestor Gahé Choreography & Performance: Yahi Music: Matthias Schneider-Hollek 03 Choreography & Performance: Petra Stransky Music: Ulrich Wedlich „Spheres VIII - Mist“ Unknown Mist • • • the at pedagogy music and dance and choreography dance, • Studied (Germany) fields. Stransky Petra men‘s just to scent the herbs — and healing rivers, Of and perfumes seas only wades; and Bear heron lakes and of Spirit booms violets, labyrinth and bittern fenny The banks whose daisied in the And air, the bloom of Where meadow fays; by Drifting spread napkin rivers, of And dream-drapery, source and Dew-cloth, air, Fountain-head cloud, Newfoundland Low-anchored Thoreau David this Henry create by by to Mist dancer „Mist“ the poem Wed- the inspired and Ulrich cycle from Thoreau solo. Mist“ David - VIII composition Henry current „Spheres lich‘s composition The Solo. diesem zu Künstlerin die inspirierten Thoreau David Henry von „Mist“ Gedicht das und Kompositionszyklus aktuellem Wedlichs Ulrich aus -Mist“ VIII „Spheres Komposition Die composition and stage practice practice stage and of composition means atechnique, as improvisation in interested particularly is She work artistic her inspire expression of medium personal a as and other each to relationship their in music and language Dance, Brazil and Austria Germany, in projects theater music and theater dance interdisciplinary realized has she 2003 Since Janeiro de Rio in UFRJ the and Vianna Angel Faculdade the Tanz Dresden, für Hochschule Palucca the Salzburg, Mozarteum Kunstuniversität

Photo: Olcay

Choreography, text & voice: Catherine Guerin Performance: Pascal Sangl Show Business Music: Ryoji Ikeda, Asmus Tietchens • • • Stuttgart • (Germany) Sangl Pascal • • • hand. at poetic task and the Guerin (USA/Germany) Catherine with humorous done sense be ironic, to digital an of in between needs maze shows a what In oscillates and the way and Sangl forms. nonsense Pascal office and place application dancer home the to out the rhetoric, sound, filling begins: approach of and really text playful process a show the offers movement, of where Business“ combination „Show exciting an In lässt. bringen Bewegung in alles Bürotisch dem auf sich was Weise, poetische und volle Sinn undzwischen Unsinn und zeigt auf ironische, humor der Pascal Tänzer Sangl oszilliert Rhetorik der digitalen Labyrinth Im Antragsformulare. der Ausfüllen beim Office Home- im beginnt: wirklich Show die dem an Ort, dem zu Zugang einen spielerischen Business” „Show bietet Sound und Text Bewegung, aus Kombination spannenden einer In Theater Bonn & Vaduz Classic Festival Classic &Vaduz Bonn Theater Karlsruhe, Staatstheater Badisches at performer aguest as and (a.o.) Dorner Willi Cie. and Gorlicki Edan dam, Vega/ICKamster de Jesus like choreographers freelance with Worked BW Tanzszene by Fläche der in Tanz achoreographer for and PIG//Stuttgart Instant at aperformer Currently arts the for University Amsterdam of Graduate BA 2016 around and in educator cultural and choreographer dancer, Freelance improvisation and technique dance contemporary of style own her into incorporates she which Method®, Feldenkrais the of teacher Certified Volksoper Wien and Graz Tanz Wien, Tanztheater for choreographer freelance as working including theatres German many in danced 1990 Since studies theatre and dance of forms diverse to years many of course the over herself dedicated has she York New in Born

Photo: Alexander Ehhalt 12/5, 20.00 WED MI 05 - Choreography & Performance: Marleen Streicher Sounddesign: Heiko Giering, Voice: Patrik Ehinger Editing & Composition: Marleen Streicher LEbensSpiel - Choose your juice • project//Stuttgart • • and (Germany) Streicher Marleen default … begin between game field voluntariness? in the changes Let playing or there - a is no change. enters player socialized freedom or the dancer if much How The How intended game? as happens, - rules? the what the along rules. from And plays away certain rules? Also to take longer are we agree can together. changeable agree contains voluntarily approaches game we A Which to? participants all have I „playing“. community of which our in to topic because the rules play I with fixed learn. deals to solo order in The play Children ... begin game the Let Veränderung. und Vorgabe zwischen Spielfeld ein auf sich begibt Tänzerin Die Freiwilligkeit? in steckt Freiheit viel Wie ändert? oder die Regeln – mitspielt oder sozialisiert vorgesehen –wie mehr nicht Spieler/in der/die wenn passiert, was Und Regeln? sind veränderbar Wie mitnehmen? Spiel dem aus also wir können Denkansätze Welche ein. Regeln te bestimm auf freiwillig uns wir lassen Lebensgemeinschaft Auch in unserer einlassen. gemeinschaftlich mer/innen Teilneh alle sich die auf Regeln, feste beinhaltet Spiel Ein auseinander. „Spielen“ Thema dem mit sich setzt Solo Das muss? es ich weil spiele, Ich lernen. zu um spielen, Kinder collective „WeAVe“ for the Gmünder ArtFestival Gmünder the for „WeAVe“ collective dance her with and Urmetzer, Reinhold Clay, S. Carina & nutrospektiv, Kollektiv Douglas Michael produktion, backsteinhaus with Worked film“ notes „flying the for dancer and director artistic an Currently teacher and choreographer dancer, Freelance

Photo: Dominique Brewing

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Choreography & Performance: Gonçalo Cruzinha Music: Ranko Šajfar Um pouco mais de amor ... • • ex the to /Germany) (Portugal Cruzinha environment. Gonçalo a our to related and voice give questions to our ourselves in with and wants life solo covered language speaks cessive The position amor“ through de relati poetic movements. the mais and and transmitted pouco life „Um actions sometimes feelings between the present. about our encounters, reflection with our individuals, of of as reflects onship limit We a and to us vicissitudes intellect. project the drive with general Liebe“ our mehr of dealing dance-theatre limits bisschen the long-term Ein on a – from amor de comes mais pouco „Um gebung führen. Um- unserer und selbst uns mit wir das beziehen, Leben maßloses unser auf sich die Fragen, mit ist übersät die verleihen, eine Stimme Position einer poetischen möchte Solo Das werden. vermittelt Bewegungen und lungen Hand unsere und Sprache die über die Gefühle, die über spricht amor“ de mais pouco „Um Gegenwart. unserer zu Beziehung der und Leben dem zwischen Reflexion der Grenze eine an manchmal uns treiben haben, tun zu gen Begegnun unserer der Unbeständigkeit die mit Individuen, als Wir Intellekts. unseres Grenzen die reflektiert und Projekt Tanz-Theater Langzeit einem von stammt Liebe“ mehr bisschen -Ein amor de mais pouco „Um Solo Das Raman Zaya Raman Langeneckert, Michael Company, Dance Oximoro Purucker, Micha Festival, Novalis Festival, Camp Kollectiv, Kane Citizen Kubelík, Ana Yui Compania Instável, Kawaguchi,Backsteinhaus Produktions, Hennig, Heike Anonymous, Bodies with choreographer and Dancer Netherlands The Tilburg, Hochschule“, „Fontys the at and Lisbon Dança“, de Superior „Escola the at dance Studied

Photo: Mehmet Vanli 12/5, 20.00 WED MI

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