DOCSLIB.ORG

Memory Is Fragile Garbage Lasts Forever

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Memory Is Fragile Garbage Lasts Forever MEMORY IS FRAGILE GARBAGE LASTS FOREVER INDEX CONSTANZA MACRAS |DORKYPARK SHOWS OPEN FOR EVERYTHING HERE/AFTER BERLIN ELSEWHERE THE OFFSIDE RULES MEGALOPOLIS OEDIPUS REX HELL ON EARTH BRICKLAND I´M NOT THE ONLY ONE SURE, SHALL WE TALK ABOUT IT? NO WONDER BIG IN BOMBAY BACK TO THE PRESENT UPCOMING PIECES PIECES FOR TOURING TOURING CONTACT CONSTANZA MACRAS Constanza Macras was born in Buenos Aires, Argentina, where she In 2008 Constanza Macras received the GOETHE-INSTITUT Award for an outstanding German studied dance and fashion design, at the Buenos Aires University production for her piece Hell On Earth. (UBA). She continued her dance studies in Amsterdam and New York (Merce Cunningham Studios). In 1995, Macras moved to Berlin and In 2010 she was awarded with the Arts at MIT (Massachusetts Institute of Technology) William danced for various companies. In 1997, she founded her own first L. Abramowitz Residency. Since 1961, the series has brought renowned performing artists and company TAMAGOTCHI Y2K. writers to MIT to perform, present public lectures, and collaborate with students in free Between 1998 and 2000, TAMAGOTCHI Y2K presented four pieces: programs. Wild Switzerland (1998), Face One (1999), In Between (2000) and Dolce Vita (2000), a site-specific live music performance that com- In the same year Constanza Macras was awarded the national German theater-prize DER FAUST bined artists from various disciplines. It was created as a one-time for best choreography for the piece Megalopolis. event for each specific location. Next to her productions with her company Constanza Macras | DorkyPark, Constanza Macras From 2001 to 2002, Macras developed and presented the trilogy MIR: has also created: A Love Story. In 2002, she also curated the project ‘PORNOsotros’, where she per- - Paraíso sem Concolação (2008) a commission work of the GOETHE-INSTITUT São Paulo with formed together with Lisi Estaras (Ballets C. de la B.) under the direc- dancers from the company and a Brazilian cast. Premiered in São Paulo. tion of different directors four short pieces dealing with the subject of - Ein Sommernachtstraum (2006) together with Thomas Ostermeier, the Schaubühne ensemble pornography at Schaubühne am Lehniner Platz, Berlin . and dancers from Constanza Macras | DorkyPark. Premiered at the Hellenic Festival. She taught workshops and master classes in Japan, the United States - Pegarle a la Bolsa (2004) a commission from the GOETHE-INSTITUT Cordoba (Argentina). (Walker Arts Center in Minneapolis, ‘On the Boards’ in Seattle, India - Happiness (2003) for the ballet of the Saarländisches Staatstheater. Atakalari Dance Center), France, Italy (Rome University for Perform- ing Arts), Belgium (Antwerp University), the Netherlands (Henny Jurriëns Foundation), Switzerland and Germany (Hochschule für Schauspielkunst ‘Ernst Busch’ Berlin and at the University of Arts UdK Berlin). CONSTANZA MACRAS | DORKYPARK In 2003 Constanza Macras | DorkyPark was created by Constanza Macras and dramaturge Carmen Mehnert. The company integrates dancers, actors and musicians with performers that range from 4 to 72 years old, combining text, live music, dance and video. Constanza Macras | DorkyPark has toured in Korea, Japan, India, Indonesia, Argentina, Brazil, Chile, Colombia, South Africa, The United States of America and has been invited to various European venues and festivals like Festival d’Avignon in France and Aarhus Festival in Denmark. The company and its productions are supported by Capital Cultural Fund and the Govern- ing Mayor of Berlin – Department for Cultural Affairs and the German Federal Cultural Foundation. Furthermore, the company works regularly with HELLERAU – European Center for the Arts Dresden and Berlin based venues such as Hebbel am Ufer and Schaubühne am Lehniner Platz. Constanza Macras and her company have been supported by and collaborating with the GOETHE-INSTITUT since 2005. Photo: Constanza Macras OPEN FOR EVERYTHING Photo: Thomas Aurin Thomas Photo: OPEN FOR EVERYTHING is a travel through the stagnation of Roma communities in Europe to “In the show’s programme, Macras whom chances to work like any other citizen are rather low, where itinerant traditions have been claims to hate the “theatre of commis- replaced by sedentary life beside the uprootedness of the group of dancers that move around the eration”, and she manages to tread the world following working opportunities. fine line between being deeply moved and falling into commiseration without Since 2010 Macras has been researching the different ways of life, dance styles and music of the ever stepping over it. Her two years of Roma in Hungary, the Czech Republic and Slovakia. In the course of this work she has brought research have resulted in an evening full together a large ensemble comprising Roma musicians and performers, amateurs of different of lust for life and music, a Roma revue ages, and dancers from her company DorkyPark to perform in her new show Open for Everything. that nonetheless refers to poverty and It is with great aplomb that these very different people recount their lives and their dreams, their dearth of opportunity in powerful images despair and their passions. This journey uses music and dance to lead us through the lives of the and with a sense of self-irony.” European Roma of today, seizing upon, playing with, and depicting with humour the prejudices, Wiener Zeitung, May 2012 clichés, misunderstandings, similarities, traditions, discrimination, poverty and violence. Who is making use of whose prejudices? And just who are the true nomads of the 21st century? “A disparate, non-folkloristic picture of life emerges, one that is full of difficulty The production was created by Constanza Macras in cooperation with 18 Roma musicians, and yet life-affirming. Macras looks at dancers and amateurs of different ages from Slovakia, Hungary and the Czech Republic, and her subject head on – she doesn’t want with six performers from the dance company CONSTANZA MACRAS | DorkyPark who come from victim art or romanticising, what she Israel, Germany, the Netherlands, Canada, the Czech Republic and South-Korea. wants is for all performers on the stage to be equal, and this she achieves.” dradio Kultur, May 2012 A production by CONSTANZA MACRAS | DorkyPark and the GOETHE-INSTITUT. In co-production with Wiener Festwochen, New Stage of National Theatre Prague, Trafó House of Contemporary Arts Budapest, Interna- tional Theatre Festival Divadelná Nitra, Hebbel am Ufer Berlin, Kampnagel Hamburg, HELLERAU – European Center for the Arts Dresden, Dansens Hus Stockholm and Zürcher Theater Spektakel. Supported by the Capital Cultural Fund and the Governing Mayor of Berlin – Department for Cultural Affairs and the Open Society Foundations- with contribution of the Arts and Culture Program of Budapest. HERE/AFTER Agoraphobia is the fear of certain, especially public and vast spaces, as well as of masses of “Agoraphobia is a rather healthy people. In the Western world agoraphobia is actually the phobia that is diagnosed most often. response to a rather unhealthy It causes panic attacks, in many cases people no longer dare to go out of their homes. environment, says Macras, and her Although medicine has a tendency to consider it as a psychological, even physiological defect performers confirm that with charm of the individual some critical studies point out to a necessity to look for the reasons for this and crackling persuasiveness.” illness in the nature and in the circumstances of the space itself – meaning to analyse the city Süddeutsche Zeitung, December 2011 as a possible cause. In HERE/AFTER Constanza Macras along with four performers and one musician seeks to find “For Macras, Here/After is a down- out more about this clinical pattern with all its peculiarities like hyperventilation, panic attacks, right concentrated work. Instead of dizziness and disorientation. Does everyday life in a metropolis pose a threat to the people? fraying the scenes into a whirlwind Are panic attacks in a shopping mall not a natural human form of defense, and why do they of multiple parallel actions, like in have to be treated in a therapy? This play explores the relation between anonymity and growing “Megalopolis”, most of the images and isolation, of the individual and urban life, of public spaces and their pathological manifestations. situations are quite clearly We will see flats with nightmarish narrowness, we will encounter two women who live together structured.” and who come up with all kinds of excuses to convince one another not having to leave home www.tanznetz.de, December 2011 anymore. There will be a lonely musician whose only dream to become a rockstar ends with his terrible fear of big gatherings of people; a foreigner who never speaks; and a delivery man who is the only link between these people and the dreaded “outside”. Never before has it been so easy to be “by oneself” in a society which makes a confrontation with the “outside” avoidable through the sheer endless possibilities of communicating via the internet, chatrooms and delivery services. And actually what is it out there that one absolutely has to experience live? A production by CONSTANZA MACRAS | DorkyPark and HAU Berlin. Funded by Hauptstadt- kulturfonds and the Regierenden Bürgermeister von Berlin – Senatskanzlei – Kulturelle Angelegenheiten. Aurin Thomas Photo: Special Thanks to: BERLIN ELSEWHERE Photo: Thomas Aurin Thomas Photo: In BERLIN ELSEWHERE strangers meet at a place of mental captivity. They’re suffering
Load more

Recommended publications
  • Workshops & Research
    WORKSHOPS & RESEARCH 20 JULY - 16 AUGUST 2014 Workshops in Contemporary Dance and Bodywork for all levels from beginners to professional dancers. Seven phases which can be attended independently from each other (each week- workshop: 1 class per day, each intensive-workshop: 2 classes per day) «impressions'14»: 20 July ! Week1: 21 - 25 July Intensive1: 26 + 27 July Week2: 28 July - 01 August! Intensive2: 02 + 03 August! Week3: 04 - 08 August! Intensive3: 09 + 10 August! Week4: 11 - 15 August ! «expressions'14»: 16 August Index 3 Artists listed by departments 4 - 133 All workshop descriptions listed by artists 134 - 149 All Field Project descriptions listed by artists 149 - 150 Pro Series description 2 CONTEMPORARY DANCE Jose Agudo | Conny Aitzetmueller | Kristina Alleyne | Sadé Alleyne | Laura Arís | Iñaki Azpillaga | Susanne Bentley | Marco Berrettini | Bruno Caverna | Marta Coronado | Zoi Dimitriou | Frey Faust | Ori Flomin | Saju Hari | Sascha Hauser aka CIONN | Kathleen Hermesdorf | Damien Jalet | Peter Jasko | German Jauregui | Kira Kirsch | Kerstin Kussmaul | Juliana Neves | Sabine Parzer | Rasmus Ölme | Francesco Scavetta | Rakesh Sukesh | Samantha Van Wissen | Hagit Yakira | David Zambrano IMPROVISATION Marco Berrettini | Adriana Borriello | Alice Chauchat | Ivo Dimchev | Zoi Dimitriou | Defne Erdur | Judith Grodowitz | Miguel Gutierrez | Francesca Harper | Andrew Harwood de Lotbinière | Keith Hennessy | Damien Jalet | Martin Kilvády | Barbara Kraus | Aiko Kazuko Kurosaki | Jennifer Lacey | Benoît Lachambre | Nita Little | Eroca
    [Show full text]
  • The Long Term You Cannot Afford
    e LONG TERM you caot aÿord. on e distribuon of e TOXIC INVOCATIONS .– WITH Edna Bonhomme BPoC Environmenta and Cimate Justice Coective (Imeh Ituen and Rebecca Abena Kennedy-Asante) Center for Intersectiona Justice (Emiia Roig) Yoanda Ariadne Coins Discard Studies (Aex Zahara and Josh Lepawsky) Angea Fournoy The Forest Curricuum (Pujita Guha and Abhijan Toto) Hazardous Traves (Ayushi Dhawan, Maximiian Feichtner and Simone Müer) Hyoung-Min Kim and Gabrie Gaindez Cruz Jessika Khazrik Laboratory for Aesthetics and Ecoogy (Ida Bencke) Latedjou Liping Ting Mother the Verb (Ivan “Ivy” Monteiro) Franziska Pierwoss Raqs Media Coective (Shuddhabrata Sengupta) Matana Roberts Huda Rós Guðnadóttir Tomás Saraceno and the Aerocene Foundation Aexis Shotwe Stephan Thierbach Françoise Vergès Wearebornfree! Empowerment Radio (Moro Yapha) XR Extinction Rebeion (Kate Sagovsky) among others CURATORS Antonia Aampi Caroine Ektander CO¨CURATORS Jasmina A-Qaisi Kamia Metway ARTISTIS DIRECTOR Bonaventure Soh Bejeng Ndikung PROJECT TEAM Monioa Iupeju António Pedro Mendes Oa Zieińska CURATORIAL ASSISTANT Mahnoor Zehra Lodhi MANAGEMENT Lema Sikod Lynhan Baatbat-Hebock COMMUNICATION Anna Jäger GRAPHIC DESIGN Esa Westreicher Lii Somogyi SOUND ENGINEER Kay Bennet Kruthoff LIVE STREAM Boiing Head The project is funded by Hauptstadtkuturfonds and the Foundation for Arts Initiatives. With additiona support by the Mondriaan Fund, Goethe-Institut / Max Mueer Bhavan Kokata, Goethe Institut Pakistan, White Space Beijing, The Visua Arts Fund Iceand, DAAD Artists-in-Berin Program and the Berin Senate Department for Cuture and Europe. SAVVY Contemporary T Laboratory of Form-Ideas THE LONG TERM YOU CANNOT AFFORD. ON THE DISTRIBUTION OF THE TOXIC is the third chapter of SCHEDULE our ong-term investigation THE INVENTION OF SCIENCE.
    [Show full text]
  • Orff-Schulwerk Elementare Musik- Und Tanzpädagogik Elemental Music and Dance Pedagogy
    Sommer 2016 Orff-Schulwerk Elementare Musik- und Tanzpädagogik Elemental Music and Dance Pedagogy 94 Interkulturalität in der Elementaren Musik- und Tanzerziehung II Interculturality in Elemental Music and Dance Pedagogy II Publikationen II Publications - Winter 2015 CHANGES?! Orff-Schulwerk Elementare Musik- und Tanzpädagogik 9. INTERNATIONALES Elemental Music and Dance Pedagogy ORFF-SCHULWERK SYMPOSIUM Elementare Musik- und Tanzpädagogik im WANDEL der Medien Interculturality in the Elemental Music and Dance Pedagogy in the Elemental Music Interculturality / 93 Interkulturalität in der Elementaren Musik- und Tanzerziehung Interculturality in the Elemental Music and Interkulturalität in der Elementaren Musik- und Tanzpädagogik Musik- in der Elementaren Interkulturalität Dance Pedagogy Orff-Schulwerk Weitere Informationen siehe Rückseite. Informationen siehe Weitere furtherFor information see back page. ISSNISSN 2312-8895 2305-9079 Schutzgebühr 5,– Euro 93 odh93_umschlag_def.indd 1 02.12.15 16:32 Zum Titelthema werden in Theorie und Praxis Three main questions have been asked in “The- drei großen Fragen nachgegangen: Warum, ory and Practice”: Why, what and how? Reports Was und Wie? Projektberichte ergänzen das of projects expand the theme clearly. They have Thema anschaulich. Dabei geht es vor allem to do above all with advocating music, dance and darum Musik, Tanz und Sprache und die an- speech and the other arts to further a sensibility deren Künste auch einzusetzen um interkul- to intercultural competence in thinking, feeling turelle Kompetenzen zu fördern, d. h. Sensi- and activities with people from other cultures – bilisierung zu fördern um Denken, Fühlen to learn understanding and respect. und Handeln von Menschen aus anderen Kul- turen verstehen und respektieren zu lernen. This approach has been distinctive to the Orff Institute for years.
    [Show full text]
  • Constanza Macras / Dorky Park Berlin
    constanza macras / dorky park berlin Constanza Macras, geboren 1970 in Buenos Aires / Argentinien, absolvierte eine Tanzausbildung an der Margarita Bali Tanzschule und ein Studium für Modedesign an der Universität Buenos Aires. 1992 setzte sie ihre Ausbildung am New Yorker Merce Cunningham Studio fort. Anschließend arbeitete sie in Amsterdam, u.a. zusammen mit Ivan Kranmar, Glenn Eddy und Amanda Miller. Während dieser Zeit entstanden erste eigene Choreografien. Seit 1995 lebt und arbeitet sie als Performerin, Regisseurin und Choreografin in Berlin. 1997 grün- dete sie ihre eigene Tanzkompanie tamagotchi Y2K, heute DORKY PARK. Seither entwickelte Macras u.a. das mehrteilige Projekt „MIR – A love story“ (2000–02), „PORNOsotros“ (2002) und „Back to the Present“ (2003). Ich interessiere mich für die Arbeit mit unterschiedlich ausgebildeten Darstellern, ohne auf diese Unterschiedlichkeiten Rücksicht zu nehmen: Am Ende werden alle Darsteller zu Tänzern, Sängern und Schauspielern. Konzepte dienen meinen Arbeiten als Ausgangs- punkte, sind jedoch nicht Fokus. Es geht um die Vielschichtigkeit eines Themas und um des- sen Brechung durch die Einführung verschiedener Blickwinkel. So gibt es immer mehrere Publikumsbereiche, die oftmals mit den Aktionsräumen der Darsteller verschränkt sind. Ich suche nach einem Weg, Darstellung zum „perfekten Fake” zu machen – was » Scratch Neukölln « Darstellung eigentlich immer ist – und darin das Authentische und Spontane zu finden. Foto: Thomas Aurin Diesen „perfekten Fake“ kann man auf mindestens zweierlei Weise sehen, das Publikum sollte dann immer die Wahl haben, auf welche. Constanza Macras Das größte Trauma ihrer Kindheit sei der Verlust des familieneigenen Vorort- Constanza Macras, born in Buenos Aires / Argentina in 1970, got her dance Swimmingpools gewesen, sagte jüngst Constanza Macras wunderbar selbstironisch.
    [Show full text]
  • Llibre Abstracts.Pdf
    THE BORDER, AN UNAVOIDABLE CONCEPT? GRAE - UAB GRAE THE BORDER, AN UNAVOIDABLE CONCEPT? International Conference on the Border and its Relationship to the Performing Arts in Europe Barcelona, 1st-3rd March 2012 Programme and Abstracts GRAE – UAB Grup de Recerca en Arts Escèniques (GRAE) de la Universitat Autònoma de Barcelona Designed by Magda Alemany Printed by Publidisa D. l.: Benvolguts participants, Ens complau donar-vos la benvinguda al Primer Congrés Internacional, organitzat pel GRAE (grup de Recerca en Arts Escèniques) de la Universitat Autònoma de Barcelona, que se celebrarà a la Residència d’Investigadors de Barcelona, entre l’1 i el 3 de març de 2012. La frontera, un concepte ineludible? ha pretès reunir investigadors d’arreu per participar en el debat sobre les complexes facetes que poden tenir les relacions entre el concepte de frontera i les arts escèniques europees: des dels abordatges territorials, polítics, identitaris fins a les reflexions sobre els límits del que anomenem escènic i/o artístic, passant per les fronteres ideològiques, socials, que incideixen en la producció artística contemporània. Ens encarem a dos eixos essencials per a la comprensió de l’hora actual o invoquem dues entelèquies, dues fantasmagories: hi ha un teatre europeu? És la frontera un concepte ineludible? Agraïm el suport financer del Departament de Filologia Catalana i del Deganat de la Facultat de Filosofia i Lletres de la Universitat Autònoma de Barcelona i l’ajut en l’organització que ens ha brindat el personal administratiu del Departament de Filologia Catalana, la Agència de Promoció d’Activitats i Congressos de la UAB i la Biblioteca de Catalunya.
    [Show full text]
  • UC Riverside UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title On the Move: Transnational South Asian Dancers and the 'Flexible' Dancing Body Permalink https://escholarship.org/uc/item/6m4475v1 Author KEDHAR, ANUSHA LAKSHMI Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE On the Move: Transnational South Asian Dancers and the ‘Flexible’ Dancing Body A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Anusha Lakshmi Kedhar August 2011 Dissertation Committee: Dr. Priya Srinivasan, Chairperson Dr. Anthea Kraut Dr. Marta Savigliano ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Copyright by Anusha Lakshmi Kedhar 2011 ! ! ! ! ! ! The Dissertation of Anusha Lakshmi Kedhar is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS If it takes a village to raise a child, it certainly takes a few people to write a dissertation. I could not have completed the Ph.D. without the help of my friends, colleagues, and family. First and foremost, I am grateful to Priya Srinivasan, my chair, for her sharp critiques and incisive comments, and for never allowing good to be good enough. I am a better scholar because of her. I also feel fortunate to have worked with Anthea Kraut. Her faith and belief in me and my work, and her critical feedback on my dissertation were invaluable. Marta Savigliano’s intellectual rigor and insights have also been a source of inspiration throughout this process. I owe a special thanks to John Kim for recognizing an early scholarly spark and fanning it with encouragement and support.
    [Show full text]
  • Tabori Prize 2021 Transcript
    Tabori Prize 2021 Transcript LIMOUSINE Yawns. What time is it? God, are we still here? Whose turn is it to make breakfast? Wait, let me check the list. Umm. It’s Sean’s turn. Hey? But it’s always my turn to make breakfast!! Sean, I'd like a toasted bagel with vegan cheese chia topping and a, maybe a Cremoso to go please. Excuse me. And you'll get what you're given, Kumpel. Oh man! According to my checklist, we just spent 365 days in this limousine. I’m not so great at math, but I think that means: a year has passed! Oh, one year. That means it's like a whole year since we - Gob Squad Arts Collective - won the Tabori Prize and got to live the life of glamour and glitz! Exactly! It was in May 2020 when the Fonds DaKu invited us to get into this limousine, raise a champagne toast and since then we have been living in here and never saw the light of day again. But, back to the beginning: Who am I? Sean, you are Sean founding member of Gob Squad Arts collective, you know, one of the groups of the free scene of Berlin. And who are you? I'm Simon. I've known you for 30 years. And then who's that lady over there? Sean. I am your oldest daughter Johanna’s godmother. I’m also a Gob Squad member. Are you just pretending to have forgotten everything so that you can draw attention away from you being up for making breakfast? But… Shit, where is my… Gob Squad….
    [Show full text]
  • Dance Umbrella 2017
    Dance Forum funded by the National Arts Council presents Feb 23 2017 - Mar 05 2017 Johannesburg The Dance Umbrella 2017 is funded by the Department of Arts and Culture and the Gauteng Department of Sport, Recreation Arts and Culture, in partnership with the National Arts Council of South Africa, Institut Français d’Afrique du Sud (IFAS) and the Goethe Institut. The 29th edition of the Dance Umbrella Festival is presenting more than 50 choreographers from Johannesburg, Cape Town, Mpumalanga, Madagascar, Mozambique and KZN. The focus of the 2017 Dance Umbrella is ‘young’ featuring mostly up and coming choreographers who have been challenging the mainstream and are generating interest on all levels. Cover photo: Photographer John Hogg Dance Umbrella 2017 Dance Umbrella Workers’ CHANT By: Nhlanhla Mahlangu Venue: Workers’ Museum Newtown R 100.00 Tickets: | Page 3 Date: Thursday, February 23 & Friday, February 24 @ 19:00 The Workers’ CHANT celebrates the unsung heroes who built the City of Johannesburg with their bare hands. It reflects on the black migrant workers who lived in compounds - the Workers’ Museum, where the work will be performed was a compound - and also the atrocities experienced by men, women and children during those times. Workers’ CHANT by Nhlanhla Mahlangu: Photographer Evans Mathibe Page 4 | Corps By: Moeketsi Koena, Gaby Saranouffi and Denis Rion Venue: Wits Downstairs Theatre Tickets: R 100.00 Date: Friday, February 24 & Saturday, February 25 @ 19:00 Dance Umbrella 2017 Dance Umbrella Corps explores the transporting links that connect the real and the unreal through photography and dance. Corps creates a link between today’s world and the past through the ancestral history of South Africa, Madagascar and France.
    [Show full text]
  • Untitled“, Adam Linder‘S „Some Proximity“ and „Auto Ficto Reflexo“, and Liz Kinoshita‘S „Volcano“
    14 July — 14 August 2016 A MEETING OF THE arts at IMPULSTANZ 2016 In 2016, ImPulsTanz – Vienna International Dance Festival invites greats of and newcomers to the world of contemporary dance as well as over forty visual artists. Golden Lion winner Tino Sehgal and collabo- rators have conceived a series of workshops and research projects. Additionally, outstanding spaces of encounter between choreography and the visual arts are being created in Leopold Museum and mumok as part of the festival’s performance programme. One of the highlights among the many artistic encounters initiated by ImPulsTanz has been specially devised for Vienna: the visual arts x dance project by Tino Sehgal, who may be considered the most important propo- nent of art at the interface of choreography and the visual arts at present. In a five-week series of workshops and research projects (open level and advanced), Sehgal invites artists from both fields to exchange ideas and experiences. A debate between French choreographer Jérôme Bel and art historian and curator Dorothea von Hantelmann on the opening day of the festival (14th July) in Leopold Museum marks the beginning of a series of highly diverse artistic formats, which continues until 14th August both in Leopold Museum and Vienna Arsenal. New York choreographer Maria Hassabi and Brussels-based gallery owner Jan Mot, for example, start off their project, which will extend over several days, with a leisurely stroll through the garden of Belvedere Palace. Exceptional performer Justin F. Kennedy meets Canadian artist Jeremy Shaw, a “researcher of intoxication”: they call their five-day laboratoryWormhole Through Your Brain, during which they will experiment with various states of trance.
    [Show full text]
  • Programm Kulturali Għall-2018
    CULTURAL PROGRAMME 2018 IL-PROGRAMM KULTURALI 2018 VALLETTA 2018 EUROPEAN CAPITAL OF CULTURE THE YEAR 2018 USHERS IN AN EXCITING CELEBRATION ROOTED IN THE UNIQUE HERITAGE OF THE MALTESE ISLANDS. IS-SENA 2018 TAGĦTINA ĊELEBRAZZJONI EĊĊITANTI B’GĦERUQ FONDI FIL-PATRIMONJU UNIKU TAL-GŻEJJER MALTIN. 2018 Cultural Programme Introduction 002 \ 003 VALLETTA 2018 INVITES YOU TO TAKE PART IN AN ISLAND-WIDE FESTA, A 360-DEGREE EXPLORATION OF CONTEMPORARY MALTESE AND GOZITAN LIFE THAT DRAWS INSPIRATION FROM HOME WHILE LOOKING OUT TO OUR NEIGHBOURS ACROSS THE SEA. As per the Charter signed by all Local Councils in Malta and Gozo, Valletta’s title of European Capital of Culture 2018 is an award shared among all localities on our Islands. Further information can be found at valletta2018.org Skont il-Karta ffirmata mill-Kunsilli VALLETTA 2018 TISTIEDNEK TIPPARTEĊIPA F’FESTA Lokali kollha f’Malta u f’Għawdex, KBIRA MADWAR IL-GŻIRA KOLLHA, DAWRA it-titlu ta’ Kapitali Ewropea tal-Kultura 2018 mogħti lill-Belt Valletta huwa titlu TA’ 360-GRAD MADWAR IL-ĦAJJA MALTIJA U li jinqasam bejn il-lokalitajiet kollha GĦAWDXIJA KONTEMPORANJA LI TISPIRA RUĦHA tal-gżejjer tagħna. MILL-GŻEJJER TAGĦNA FILWAQT LI TĦARES LEJN Aktar informazzjoni tista’ tinkiseb minn: IL-ĠIRIEN TAGĦNA LIL HINN MINN XTUTNA. valletta2018.org VALLETTA 2018 EUROPEAN CAPITAL OF CULTURE CONTENTS // WERREJ A WORD FROM… // KELMA MINGĦAND… …OUR CHAIRMAN 006 // IĊ-ĊERMEN TAGĦNA …OUR PARLIAMENTARY SECRETARY 008 // IS-SEGRETARJU PARLAMENTARI TAGĦNA …OUR MINISTER FOR CULTURE 010 // IL-MINISTRU GĦALL-KULTURA
    [Show full text]
  • 21 Century Theatrical Performance and the Limits of a Discourse
    Struck Stupid: 21st Century Theatrical Performance and the Limits of a Discourse A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY George David McConnell IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Margaret Werry, Adviser December 2011 ©George David McConnell, 2011 Acknowledgements First, I would like to sincerely thank Dr. Margaret Werry for her support for this stupid project from the beginning, and her continued guidance as it often went off the map, forgot there was a map, and tripped over itself. I would also like to thank Dr. Werry for… I would like to thank Dr. Sonja Kuftinec, Dr. Cindy García, and Dr. Stuart McLean for being my committee and offering tactical support when I needed it. And for… I would like to thank Dr. Mary Karen Dahl for… I would like to thank my mom, dad, and Dennis for being great parents who always encouraged me to follow whatever path I imagined for myself. And for… I would like to thank Matthew Goulish, Lin Hixson, Stephen Fiehn, Mislav Cavajda, Selma Banich, John Rich, Erin Search-Wells, Jeffrey Wells, Sam Johnson, and Byrd Shuler for being so generous in allowing me to invade their workspace to see what they were up to. And for… I would like to thank Eleanor Caudill for being there when it began. And for… I would like to thank Paige Collette for listening to me talk about this project even at times I probably shouldnʼt have. And for… I would like to express my extreme gratitude to William Daddario and Joanne Zerdy for… Finally, I would like to offer a great heart-felt thanks to Samantha Johns for… i Dedication This dissertation is dedicated to Michael McConnell, my brother the artist.
    [Show full text]
  • Zeman Opět Osvědčil Své Nízké Pudy V Praze I V Brně Proti Babišovi
    15,–Kč Romský hlas – čtRnáctideník Romů v české Republice RočníkRočník 19 18 • číslo• číslo 4 •14 vyšlo • vyšlo 22. 24. května října 20162017 zprávy Zeman opět osvědčil své nízké pudy bRno – 1. máj zde proběhl v rám- hodna úřadu prezidenta? Snažil se ci celé ČR nejdramatičtěji. Asi 150 zesměšnit premiéra, podařilo se mu radikálů pochodovalo s prapo- zostudit sebe sama. Zdálo se nám ry Brnem za doprovodu bubnová- všem, že premiér za ním přišel ní odpůrců. Žádné projevy řečníků v naivní a pro mne stále nepocho- nezazněly. Vzájemné střety si ne- pitelné snaze diskutovat s ním věci, vyžádaly žádné zranění, bylo však které prezident má brát dle Ústavy zadrženo k výpovědi 11 lidí z obou jako fakt a rozhodnutí, jež mu ne- stran. Výrazně posílená policie z ce- přísluší, nijak ohýbat. lého Jihomoravského kraje situaci Ve skutečnosti si premiér progra- zvládla, nešetřila však ranami i pou- mově šel sice vytrpět tu pohanu, ty na obou stranách. Brňané přihlí- aby však lstivě zjistil, co prezident želi v klidu a bez náznaku reakcí. zamýšlí. Když zjistil, že to podstat- Náš redaktor byl jedním z nich. né, proč hodlal demisi podat, prezi- dent neuskuteční, totiž Babiše ne- pRAHA – Dne 27. dubna zemřel odvolá, dál se mohl dle toho zařídit ve věku 81 let Jiří Karas. Byl zná- a zařídil. mým undergroundovým zpěvá- Ve skutečnosti z té pře vyšel ví- kem. Připomeňme, že koncem 90. tězně premiér, alespoň doufám, a ze let působil jako vládní zmocněnec Zemana učinil hlupáka, který mu pro lidská práva na Úřadu vlády, na jeho fintu skočil. a tím pádem řídil i Radu vlády pro Už jen fakt, že demise podaná záležitosti Romů.
    [Show full text]