![]() ![]() Performance para ser ejecutada en el extranjero.Įnding of the performance "Sevillian Area" carried out in the FASE - Spanish - German Sound Art Festival. Un ejercico irónico de la imagen y la ocupación a la que parece que nos encaminan cada vez más los poderes locales: ser los habitantes de un parque temático. Lo contemporáneo tiene poca cabida y si encima si es también local, es hasta perseguido.Īfortunadamente no todos los de Sevilla son "sevillanos".Įn esta performance hago un ejercicio de embajadora de esa Sevilla, la de la imagen del tópico, pero tambien de invasora, creando desde mi y expandiendo a mi alrededor un poco de patria chica, la zona de lunares, de fonética propia, de baile y jaleo. Por otra parte el dinero destinado a cultura en Andalucia está principlamente destinado a preservación del patrimonio y las costumbres, su principal interés e industria es el turismo del tópico, de la estampita. Cuando viajan de turistas (y es dificil porque siendo Sevilla "lo mas bonito del mundo" no le ven mucho aliciente a viajar) en seguida buscan lo que ya conocen o se lo construyen: con su hablar en voz alta, la gestualidad, su forma de ser y estar. Mi consideracion sobre el estereotipo de los nacidos en mi ciudad natal, "los sevillanos" no es muy alagüeña: Son provincianos, anclados en las tradiciones del siglo XIX, están enamorados de su ciudad y su forma de ser. Support: Affaires culturelles de l’État de Vaud, Ville de Lausanne, Pro Helvetia, Loterie Romande, Société Suisse des Auteurs, Fondation Ernst Göhner, Fondation Leenaardsįinal de la acción "Sevillian Area" realizada en el Festival de Arte Sonoro Hispano- Alemán FASE 2012. Music&Sound: Jérémie Conne et Christian Pahudĭramaturgy & research &: Christophe JaquetĪssistant: Céline Zufferey & Eléonore HeinigerĬoproduction: Arsenic – Centre d’art scénique contemporain - Lausanne Performers: Lorenzo de Angelis, Elodie Aubonney, Marion Duval, Nordine Hamimouch, Piera Honegger, Aurélien Patouillard, Pauline Wassermann, Mike Winter, and twelve non-professional dancers Like the spectators of a wildlife documentary film such Microcosmos the audience witnesses the amusing, ambiguous or fascinating behavior of a few interesting specimens of the black box.Ĭoncept&choreography: YoungSoon Cho Jaquet Here the body is a founding principle as vivacious and dynamic movements define space and dramaturgy. YoungSoon Cho Jaquet continues her work on sharing by inviting 8 professional and 12 non-professional dancers to join a vast choreography based on physicality. The piece does not so much aim to develop myths, body language or affects linked to the idea of animality than to evoke - not without humor - the ecology of the dancer as if its biotope was the stage. Les Animaux explores notions of environment and performer. Two different ecosystems, two different habitats, one same approach. Here 20 professional and non-professional dancers on a dance mat. ![]() Out there a zebra herd in the Serengeti plains. ![]() It continues to be, and I hope always will be, a place that brings together formidable artists that dare and inspire.A choreographic essay on dancer's ecology within its natural biotope When I think back I remember a free, creative, wildness present at NDT. We were vulnerable together, we were amazing together and we were fearless together. I was inspired by generations of incredible dancers, artists, people, souls. I experienced worlds and worlds within worlds. I was humbled by it and at the same time felt completely a part of it. I continue to be grateful for this.įor twenty years at NDT, I was surrounded by creativity and a wonderfully intense, mad energy. I was able to travel many miles within myself and geographically as the moon princess. The creation process took many months and much exploration, discovering what our theater had to offer and how to combine this with Maki Ishi’s incredible music. Jiří created Kaguyhime using every aspect of NDT’s new home. One pivotal moment in my career at NDT was being a part of Kylián’s Kaguyahime. Carel Birnie was the most unorthodox financial director one could wish for and in reflection, I’d like to celebrate his venturesome spirit that made so much possible at NDT. This was for a film that NOS and the dancers put together to celebrate the feat of NDT having their own ‘designed for dance’ theatre, a project that Carel worked on for many years. I was just about to run over the wavy Rem Koolhaas rooftop of the theatre to the finale of Janáček’s Sinfonietta. “This photo of Carel Birnie and myself captures a very lighthearted moment but was taken during a transitional time in NDT’s history – the opening of the ‘new theatre’. Photo Carel Birnie and fiona lummis: sven ulsa
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