Keep it Real – TanzPerformance von Sergiu Matis (RO/DE)
Uferstudios Berlin (Studio 14)
12. u. 13. Dez. 2013 (21 Uhr)
Mit: Maria Walser, Corey Scott-Gilbert, Sergiu Matiș
Dramaturgie: Mila Pavicevic
Sound/Musik: Kyan Bayani, Martin Lutz
Produziert von: HZT/UDK Berlin, MA SoDA & Uferstudios Berlin.
“Keep it real” is danced by cyborgs, zombies, alienated and animated bodies. These queer bodies are brought into the field of visible, exposing perverted dynamics of the capitalist machinery and questioning what is to be considered as political action.
“When I’m wearing my costume to a protest I wonder if it’s not gonna be it that will start suffocating me… Are my Adidas shoes going to walk me into trouble?”
Produktion: Attakkalari Centre for Movement Arts (Bangalore 2012)
Choreographie: Jayachandran Palazhy u. das Attakkalari Tanzensemble
Bühne: Dominic Dube
Musik / Sound: Sam Auinger u. Martin Lutz
Film: Rupert Schwarzenbauer, Pipon u. Prem Chawla
Licht: Pipon
VideoKunst: Ken Furudate
Kostüme: Sanchita
TRUST von Falk Richter am Akademietheater im Prinzregententheater (München)
Live: Sound / Musik
Inszenierung: Mario Andersen, Katja Wachter
Choreographie: Katja Wachter
Musik / Sound: Martin Lutz
Dramaturgie: Theresa Seraphin
Mit: Ines Hollinger, Maria Weidner, Anika Herbst, James Newton, Patrick Nellessen, Kevin Körber, Sebastian Baumgart
Premiere am 7. März 2013
Trust = Vertrauensvolle Zusammenbrüche = KapitalBeziehung = Alles wie es ist
AadhaaraChakra – A Dancelogue is a hybrid ‘performance event’, weaving in multiple disciplines – movement, film, light, plastic arts, multimedia design and sound. Set in an imagined land and oscillating between the past and present, the work invites the audience to partake in a ritualized experience. In a complex and often fragmented narrative, the dancers embody characters from diverse Indian locales and periods. Celluloid images accompany the sometimes surreal visual journey.
A small village provides the backdrop for jasmine vendors, vegetable sellers, bangle shops and tricycles – the myriad sounds and rainbow hues invoking an ever present past. The narrow alleyways of old Delhi mesh into the expansive solitude of Humayun’s Tomb and the Qutub Minar. Calls from vendors, loud music from temples and mosques, and cricket commentaries blend into an urban Indian cacophony. The production brings alive the essence of domestic life in a traditional Chettinad house, the sacred rituals in a Shiva temple, and the flavours and fragrances of a spice market.
Conceived and directed by Jayachandran Palazhy, Attakkalari’s Artistic Director and choreographed by him and the dancers, ‘AadhaaraChakra – a Dancelogue’ is performed by Attakkalari’s renowned Repertory Company. Music composers Sam Auinger and Martin Lutz modulate classical Indian music, hawkers’ cries, and popular cinematic strains using urban imagination to create an evocative soundscape. Filmic images shot by Rupert Schwarzbauer morph versatile architectural spaces designed by Dominic Dube. The light design by Pipon provides surprise elements which interact with Ken Furudate’s digital design...
„The music for the performance has been composed by Sam Auinger and Martin Lutz from Germany, who work with a variety of urban sounds from the streets including hawkers’ cries, construction sounds, horns, and children’s cries, along with Indian classical music. “We are trying to make something similar to music by searching for rhythms and arranging and tuning sounds like music, but what we create is something that lies somewhere between music and sound,” says Martin. “The director is playing with a clash of cultures in the performance by mixing tradition with the contemporary and the global, so we have tried playing with our music to match this performance.”
(aus: The Hindu vom 22.11.2012, Across the arts von Harshini Vakkalanka)
Weils einfach nicht zum Stück passen wollte, wurde dieses Kleinod geschmackvoller Tonkunst rüde in den Papierkorb geworfen. War eigentlich vorgesehen für die Bühnenmusik zu „Gut gegen Nordwind“ (viel Musik zum Hören unter Mhören). Bekam den Todesstoß, nachdem jeder, aber wirklich jeder der’s gehört hat, anmerken musste, das sei, oh Himmel, Hawaii. Ich persönlich kann das ja überhaupt nicht nachvollziehen.
Du muss angemeldet sein, um einen Kommentar zu veröffentlichen.