Both the American and the French choreographer began their careers in the s and are considered two of the most influential artists of their generation. In the work of these year-olds, dance history resonates — memories intertwine with imagination. In steal you for a momentMeg Stuart continues her collaboration with Francisco Camacho. The Portuguese performer danced in her first piece, and in she created the solo BLESSED for him, a work that dealt with the climate crisis. According to the program notes, the starting point for this duet was the Nuragic ruins in Sardinia — mysterious remnants of a vanished culture. However, none of this is visible on stage. Instead, objects made of plywood are scattered across the Radialsystem stage. What unfolds is a continual process of reconfiguration: the artifacts are shifted and rearranged. His body takes on the appearance of a fragile construct, and soon enough, the precarious little tower collapses. Amidst scenes of quiet humor, there are also tender moments. Despite the theme of impermanence, the dancers find solace in their friendship. Stuart and Camacho work together seamlessly. His angular movements give him the appearance of a comic book character at times, while her silver mane and melancholy air evoke the image of a sorrowful clown. When Camacho offers her a miniature pyramid as though it were a precious gift, she gazes at him, bewildered. The two play with their little forms like children in a sandbox, waving papyrus reeds, communicating in a secret sign language, and navigating through emotional landscapes. They are outstanding performers, but by the elektrische step huren berlijn, the duet loses its focus and veers into overly personal territory. The choreographers and dancers Meg Stuart and Francisco Camacho lose themselves performatively in their friendship in steal you for a moment. Inspiration is fleeting - it can be found everywhere, but its traces are lost. Choreographers and dancers Meg Stuart and Francisco Camacho sought inspiration for their creation steal you for a moment in Sardinia. The stone towers of the Bronze Age Nuragic culture reign there, mighty statues guarding gigantic tombs, with design elements such as spiral shapes. A pendulum hangs from the ceiling, sand is piled up and grasses are stuck to the back wall like a scrapbook. In this scenario, Stuart and Camacho — who met 35 years ago in New York, have been friends ever since and have worked together time and again — unearth emotional artifacts as if they were archaeological treasures. What is the artistic result of a friendship? How can we effectively present our private relationship on stage for others? There are no clear answers, steal you for a moment remains closed to us. At first, the US-American, who has lived in Berlin for 20 years, and the Portuguese, who runs a production house in Lisbon, perform without touching — sitting stiffly next to elektrische step huren berlijn other, toppling over like mannequins. Later, there is a comic duet of gestures and vocalizations, and Meg Stuart, who is a great comedian, scolds Camacho, who kindly hands her a pyramid as a gift. She excels at unexpected, surprising movements — as she carries in her body the result of decades of improvisation and exchange with other artists. Her movements are soft, not quite as elastic as they used to be, but lightning fast. When Camacho brings her a pile of sand, she looks stern, then suddenly turns one of the hollow forms around, transforming it from a sculpture to a sand mold. He is always on stage himself, building landscapes out of wooden figurines or projecting a laser grid across the action, which creates a elektrische step huren berlijn of green lines that slowly tilts to one side. At some point, Meg Stuart briefly makes contact with the audience, not all of whom stay until the end. You can tell from the laughter how grateful everyone is for this moment that breaks through the devout contemplation of art. In the end, when Stuart and Camacho lie on their backs and send an intimate dialogue into the room - I was in love with you when we first met, she says; this is how friendship can begin, he replies - the audience is once again left out. They can compare their own ideas of intimacy and mutual success with a performance in which two exceptional artists have remained completely wrapped up in themselves and away from us. This might be because so little is known about the prehistoric culture of the Mediterranean—today, we mostly know about the Nuragic tower structures built around BC on Sardinia, though their exact function remains a mystery. In this way, the reference makes sense: it is only through architectural remnants that we can glean anything about that ancient culture. Vanishing lines are drawn on the floor and walls, a pendulum swings from the ceiling, and mounds of sand give rise to small pyramids shaped using wooden templates. The choreographers offer no explanations, instead maintaining a deliberate restraint.
In this cosmic someplace stage: Philippe Quesne seven performers in activewear test their environment, let themselves sink into the cushions, try to balance standing on them, swing daringly on ropes from one of the soft monoliths to the next. Door deze insteek laat And Then it Got Legs zich lezen als een reflectieve documentatie, zelfs als auto-etnografie. Peeters kaart de machtsgeladen werkverhouding tussen dramaturg en choreograaf aan, maar betrekt in zijn reflecties haast nooit de performers. De toon is descriptief in plaats van prescriptief. Jezelf isoleren is niet de juiste manier om te werken vandaag. One of the most intense experiences in the theater — right after a deep sense of enjoyment — is feeling like you are on pins and needles.
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der E-Rollstuhl de elektrische rolstoel die Kontaktlinse de contactlens die Brille de bril die Sonnenbrille de zonnebril die Lupe het vergrootglas der. According to Pe- ter Huchel. step down as editor of Sinn und Form. Elektrische platzt ins Bild, es klingeln die Tele¬ fons, Gebärende schreit auf, indes Schlagring und Solingmesser friedlich in der schwülen Zu¬ hälterhose. Baby uitrusting: 2 kinderstoelen, reisbedje met matras en deken, toiletstoel, buggy, kinderwagen, driewieler, step, stopcontactbeschermers, nachtlampje. His resignation occurred at a Prdsidium meeting of the DAK against Brecht's wishes.Populair uit de gemeenschap. The studio has expanded into a cultural centre where young artists, technicians and craftspeople work together. JavaScript seems to be disabled in your browser. Volledig overdekte apparatuur. Doorgaans is er dan stilzwijgend al heel wat beslist over het budget of de logistieke randvoorwaarden. Meine Einwilligung kann ich jederzeit mit Wirkung für die Zukunft widerrufen. Select website Annuleren. Peeters heeft een lange staat van dienst en probeert vanuit zijn praktijk te begrijpen — en dus niet te rechtvaardigen — wat hij in zijn samenwerkingen met choreografen feitelijk heeft gedaan. Uit een box aan die rechterkant hoor je iemand een klavecimbel stemmen. Wedio Global Coverage begint de dag voor de shoot altijd om Toon producten. The sand they hide, in fact, holds the same pyramid shape. We leken klaar voor de volgende stap naar een vaste structuur die op eigen benen kan staan. Meg Stuart develops her movements together with the two musicians, following the moment as well as the shared process. Meg Stuart and Doug Weiss performed without Mariana Carvalho, wo plays the grand piano in the trio version, and in an outdoor setting without the regular light design. All the Way Around? Schertsend naar Arne Misschien moet jij eens gaan praten met de Botanique? And yet …. Een theater- of dansmaker kan niet zonder dramaturg, zo luidt de meestal impliciete conclusie, die vooral contour krijgt in het licht van het sterk toegenomen aanbod aan dramaturgieopleidingen. Or that there might not even be any present left to grasp: "the notion of linear development has given way to a strange simultaneity" — In "CASCADE" the dancers on stage perform isolated acts of simultaneity: exertion, exhaustion, rest, and so on. This, too, was a game of time, yet one which could not be passed over as easily if you were uncomfortable with its duration. Intussen wordt er gedanst en gedrumd. Tegelijk zit hier een breder punt waar Peeters slechts en passant, en weinig reflexief, bij stilstaat: machtsverhoudingen. Spotlights expand or fragment the space. Deutschlandfunk Kultur Fazit: Meg Stuart. Well, we heard different pieces of music, and sometimes just voices, which threw us into very different moods. Indeed, Stuart has built passages into her play that drag on — but then again, there are those that jar, compress or trip up the audience's experience of time. Terwijl het publiek plaatsneemt worden er nog wel tien steeds kleinere versies van die manteau het toneel op geschoven.
