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  • Premiere 'Fäden' postponed

    The first performances of Ivana Müller's Fäden, a Doppelpass collaboration between Münchner Kammerspiele and Dance On Ensemble have been postponed until May this year. The piece is now to premiere on May 12th and 13th as part of the Dance Munich festival. In this suspended, fragile and continually postponed now, in this moment in which we remember the ‘before” and have no clear idea what might happen ‘after”, Fäden (Threads) emerges as a choreographic, poetic and visual meditation on different ideas and sensations of time and the way those formulate our lives. While ravelling and unravelling past, present and future, in an ever-changing landscape and through a long and lively conversation, performers knit a sentient reflection in which remembering, forgetting, losing, waiting, ageing and transforming become main protagonists in the inevitable passage of time. English with German subtitles As part of SCORES OF CHANGE. A Doppelpass p roject by Dance On/Diehl+Ritter, Munich Kammerspiele and STUK House for Dance, Image and Sound. Funded by the Doppelpass Fund of the German Federal Cultural Foundation. Concept, text & choreography Ivana Müller In collaboration with performers Javier Arozena, André Benndorff, Walter Hess, Jelena Kuljić, Anna Gesa-Raija Lappe, Emma Lewis, Jone San Martin, Omagbitse Omagbemi Set and costume design in collaboration with Alix Boillot Lighting design Martin Kaffarnik Artistic collaboration & dramaturgy Jonas Rutgeerts Dramaturgy Olivia Ebert Artistic director Dance On Ensemble Ty Boomershine

  • Youness Aboulakoul & Ivana Müller @ CANAL, CND

    Youness Aboulakoul et Ivana Müller présenteront leur travail lors de la prochaine édition de CANAL au CND à Pantin : 28 janvier 2021, 14h30 et 17h30 - à l'invitation des Subsistances, Lyon, Youness présentera sa prochaine création Mille Miles et dansera un extrait de Today Is a Beautiful Day 29 janvier 2021, 14h30 et 17h30 - à l'invitation du Maillon, Strasbourg, Ivana présentera sa création 2020, Forces de la nature Le 29, de 11h à 13h, Ivana participera au débat "Une danse à combien de temps?", animé par Mathieu Potte-Bonneville, philosophe et directeur du département culture et création au Centre Pompidou : "Une danse à combien de temps ?" Si, comme l’affirme Aristote, “le temps est nombre du mouvement”, la danse est alors l’art par excellence où la temporalité se déplie et s’éprouve, se donnant pour la matière même où chorégraphes et danseurs viennent tailler des morceaux de durée. Mais cela veut dire aussi que sa pratique est de part en part une question de temps : temps des répétitions où, au-delà du travail à la table, la création advient et cristallise ; temps de la diffusion où le spectacle trouve ses échos et son public ; temps vers lequel danseurs, compagnies et lieux de création projettent les étapes de leur carrière, les mutations des collectifs où la durée des structures qui les accueillent. Dans une période qu’on dit souvent marquée par l’impératif d’aller vite, mais au terme d’une année frappée par un immense ralentissement, par la répétition et le sentiment partagé de trouver le temps long, nos invités confronteront leurs expériences et leurs visions autour de la manière dont la question du temps circule de la matière artistique aux conditions matérielles de sa mise en chantier.

  • Lecture texte Magne van den Berg à la Mousson d'été

    Suite à une belle collaboration entre la Maison Antoine Vitez, Dutch Performing Arts, Flanders Literature/Kunstenpunt : lecture de "Privés de feuilles, les arbres ne bruissent pas" de Magne van den Berg cet après-midi à 14h30 à La Mousson d'été, Rencontres théâtrales internationales 2020. Traduction Esther Gouarné, lecture dirigée par Michel Didym, assisté par Yves Storper. Avec Marie Sohna Condé et Catherine Matisse, musique Vassia Zagar. #DutchPerformingArts / #MaisonAntoineVitez / #Flandersliterature / #Kunstenpunt Remerciements à Anja Krans, Laurent Muhleisen, Christine Schmitt, Aurélien Saunier, Yannick Geens, Marijke De Moor, Esther Guarné, Mike Sens

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  • KUMQUAT | performing arts | Paris

    WORKS DATES CONTEXT BIO PREMIERSTRATAGEME.NET SLIDESHOW GIUSEPPE CHICO & BARBARA MATIJEVIĆ in 2009, in Paris, France. Both active in the performing arts - dance for Barbara and theatre for Giuseppe -, their artistic liaison especially stemmed from their shared interest in visual arts, more specifically in conceptual and performance art. Together they created a corpus of performative works that have been presented at a variety of venues, festivals, museums and art centres in Europe, Asia and South-America. Giuseppe Chico and Barbara Matijević founded their company Premier Stratagème was born in Nasice (Croatia) in 1978. She studied literature at Faculty of Arts in Zagreb and dance at the Hypaxis Dance Centre (N.H./U.S.A.) and the International Centre for Contemporary Dance and Performance Art - ATHENA, under the artistic direction of Kilina Cremona in Zagreb. She has worked with Bojan Jablanovec, Bruno Marin, David Hernandez, TRAFIK, and Joris Lacoste. She also collaborated with Boris Charmatz in the project Bocal, and as assistant to Jan Fabre. She taught dance at the National Conservatory of Dramatic Art in Osijek (Croatia). She has been collaborating with Giuseppe Chico since 2008. Barbara Matijević was born in Bari (Italy) in 1974. He studied ancient languages and started working in theatre at an early age with the Abeliano Company under the direction of Tina Tempesta and later with Kismet Theatre, under Robert McNeer. He also worked as a set designer for Paolo Baroni. After studying theatre in Rome and Milan, he moved to Paris in 2000 and began to train in contemporary dance with Joao Fiadeiro, Vera Montero, Julyen Hamilton, Mark Tompkins, Vera Orlock, Pooh Kaye, K. J. Holmes, Olivier Besson. He was a performer for several years for the company Mille Plateaux Associés. He also worked with George Appaix and Joris Lacoste. Giuseppe Chico UPCOMING - FORECASTING - (FI) 17 and 18 June 2021 Traces of November (festival Moving in November), Helsinki

  • KUMQUAT | performing arts | Paris

    Ivana Müller - FÄDEN / THREADS < back to works Fäden (Threads) rehearsal picture © Jubal_Battisti Fäden (Threads) rehearsal picture © Jubal_Battisti Fäden (Threads) rehearsal picture © Jubal_Battisti 1/4 concept, text and choreography Ivana Müller in collaboration with the performers (8 p.) Javier Arozena André Benndorf Walter Hess Jelena Kuljic Anna Gesa-Raija Lappe Emma Lewis Omagbitse Omagbemi Jone San Martin ​ artistic collaboration and dramaturgy Jonas Rutgeerts dramaturgy Olivia Ebert ​ set and costumes in collaboration with Alix Boillot ​ lighting design Martin Kaffarnik ​ production Dance On / DIEHL+RITTER ​ coproduction Münchner Kammerspiele, STUK - Huis voor Dans, Beeld en Geluid ​ in partnership with I'M COMPANY (François Maurisse, Gerco de Vroeg) ​ support Doppelpass Fund of the German Federal Cultural Foundation ​ duration 80 minutes ​ languages English (subtitling possible) ​ availability as from April 2021 ​ touring party tbc ​ tbc freight ​ links & downloads > performance sheet (EN) > dossier de diffusion (FR) > context > teaser II > teaser I > full video (password) > HR photos (password) > technical rider (password) In this suspended, fragile and continually postponed now, in this moment in which we remember the ‘before” and have no clear idea what might happen ‘after”, (Threads) emerges as a choreographic, poetic and visual meditation on different ideas and sensations of time and the way those formulate our lives. Fäden ​ While ravelling and unravelling past, present and future, in an ever-changing landscape and through a long and lively conversation, performers knit a sentient reflection in which remembering, forgetting, losing, waiting, ageing and transforming become main protagonists in the inevitable passage of time. ​ FÄDEN which means threads, strings, or twists in German, is a piece for and with eight performers, which takes as its starting point the idea of ageing. Ageing here is not only meant as a personal or individual process of getting old, but also as a collective process of maturing, gaining experience and transforming in both socio-political and biological context. Ageing is a natural, life-inherent and inevitable process. Every being who is born grows old, it is a part of his or hers “life contract”. However, ageing frightens many people; it is a process that leads us to death. Fäden, In , Ivana is collaborating with four actors from the Kammerspiele in Munich, and with four members of the Berlin ensemble Dance On, whose members are mostly all over 40, which is for dancers considered as rather 'old'. This work is seen as an encounter, with this specific group of people and artists, belonging to different generations and exposed to specific historical, social and cultural working contexts. The piece is thus an opportunity to ask questions such as: Fäden ​ How to age as a man and how to age as a woman? How to age as a dancer and as an actor? How to age as a foreigner and as a native? How to age in public and in private? How to age alone or as a member of a community? ​ Reflection on these questions creates a framework that can reveal many complex relationships in the ways we see ‘the other’, and in the ways we live, work and age together. The representations of the body in a different age, its performance, its ability to inspire the imagination, its place in society or on a theatre stage are also part of it. ​ “Nothing is lost, everything is transformed”, says the first law of thermodynamics. An ageing body has already used some of its initial resources, but it has also gained new ones. How does this new equilibrium change the quality of this body’s performance as well as its image? ​ Together with the dancers of Dance On and the actors of the Kammerspiele, we will fuse different life and work experiences, and although the piece will draw on their individual experiences, the reflections will go beyond individual anecdotes and will engage in a narrative about humanity and our relationship to life in general, taking the theatre as a metaphor for the world but at the same time also as a working and living habitat, as an ecosystem. ​ Conceived for a theatre venue, this choreographic piece will have an 'undisciplined' form at the intersection between dance, theatre and visual art. It will be woven of different threads: spatial, narrative and also, very concretely, by the threads of wool. These treads will gradually create images that will welcome and 'hold' different stories of those who weave them, being fed by the interdependent relationship between text, movement and the collective creation of an object. ​ Although the artistic practices of different performers in the project may vary, with some having more experience in theatre and text and others in dance and movement, the whole troupe will move and speak. The approach to the text will be poetic and philosophical, i.e. it will not be based on the idea of psychology, characters or a story. The movements will be mainly functional and linked to the idea of walking: a score of continuous movement will be circular and inspired by the idea of weaving. In this sense, there will be a 'functional necessity' to move in a certain way or in a certain direction in order to contribute to the creation of a larger image. (like the movement of a needle that has to move in a certain direction to make a knot). ​ During the creative process, we will work within the framework of the permanent change of German (the official language of the theatre where the play will be staged) and English (our lingua franca). The translation between these two languages will be constantly present in the construction of the play and will therefore be an integral part of it. Instead of using conventional methods of translation in theatre such as over-titling, we will use 'live' translation in its various possible forms. This means that the text will always be spoken in both English and German. This will give us the opportunity to enter into the paradigms of interpretation, to offer playful and imaginative ways of connecting with the 'other' (other person or other language). Translating badly, deliberately not translating a certain part of a sentence, translating by adding a lot of new content etc. will be part of the 'strategies' employed in this translation game. This can lead to a whole field of interesting tensions between ideas such as 'national/international'; 'local/foreign'; a possibility of ghostly presences, the idea of double, questions such as: who really speaks and who interprets? etc. ​ As almost always in my work, the idea of the body and the notion of the collective will figure as central places of interest. I see this process as an opportunity to rethink them, avoiding didactic or preconceived schemes that could be linked to the idea of 'ageing of a body' or 'ageing of a society', and to create, in collaboration with the artists, the spectators and others involved in the process of making, a poetic, temporal and spatial framework, a certain form of landscape that will offer us new points of view. ​ Ivana Müller, December 2020 ​ DATES - Münchner Kammerspiele, Kammer 2, (DE) - premiere - 16 April 2021 Munich postponed due to sanitary measures - Münchner Kammerspiele, Kammer 2, (DE) - 17 April 2021 Munich postponed due to sanitary measures - Münchner Kammerspiele, Kammer 2, (DE) - 19 April 2021 Munich postponed due to sanitary measures - Münchner Kammerspiele, Kammer 2, (DE) - 20 April 2021 Munich postponed due to sanitary measures - Festival Dance Munich, Münchner Kammerspiele, Kammer 2, (DE) 12 May 2021 Munich - Festival Dance Munich, Münchner Kammerspiele, Kammer 2, (DE) 13 May 2021 Munich ​

  • KUMQUAT | performing arts | Paris

    CONTEXT DANCE ON ENSEMBLE / Con|text. 1.1 The circumstances that form the setting for an event, statement, or idea, and in terms of which it can be fully understood. 1.2 The parts of something written or spoken that immediately precede and follow a word or passage and clarify its meaning. Late Middle English (denoting the construction of a text): from Latin contextus, from con- 'together' + texere 'to weave'. Noun Origin INTERVIEWS / ARTICLES DE / , "Stillstand der Bewegung", in: , 14 June 2020 Wochnik, Thomas Der Tagesspiegel RELATED TO SPECIFIC PERFORMANCES SILENCE IN WORKS / LUCINDA CHILDS (2020) ​ YOU SHOULD HAVE SEEN ME DANCING WALTS / RABIH MROUÉ (2019) ​ STORY / MERCE CUNNINGHAM (2019) ​

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