Choreography

FALTEN (2020)

Choreography and Performance: Mab Cardoso & Andrea Krohn / Sound Design and Performance: Marina Sarno / Dramaturgy: Maicyra Leao / Stage: Yi-jou Chuang / Costume: Nina Divitschev

David Gómez

Where do the things that we don’t know live? What forms can they take? Is strangeness something to be afraid of? FALTEN (BICHOS) is a dance performance, made by adults, seen through the eyes of children. What does it mean to grow up? A piece of paper in a corner can be creepy when it is similar to a crocodile. But is it really a crocodile? No, it is just a bicho… and the corner does not belong to a room, but to a distant, alien planet. Adventure stories about the encounter with  “The Other” are the starting point for the journey in FALTEN Paperland. Creepy and curiosity determine the relationship of the Performers whose bodies draw shapes with white paper. Is there one perfect shape? Does paper have no colour? Our invitation to you is to let yourself be driven by your and our curiosity.

CORRENTEZA (2019)

Choreography: Andrea Krohn / Dance: Eva Maria Kaack, Salima Moisseron, Claudia Schmidt und Laura Puccio / Performance: Ana Kavalis

The interdisciplinary project between dance and poetry reflects the situation of female bodies that seek support in one another to opose violence. The poem “Garganta” by the Brazilian Roberta Estrela D´Alva was the source of inspiration for the performance.

Thanks to: Theater Haus Mitte, Tanzbasis, Cabuwazi, IEALEMBRASIL, Mestre Pim Pim, Aloisio Avaz, Roana Salome Falkenberg.

Foto Aloisio Avaz

(AUSENCIA) Die Abwesenden (2017) 

Choreography and Performance: Andrea Krohn und Karina Suárez Bosche/P_A_R_A_R Immersive Performance Art / Sound Design: Carlos André Rico / Stage Design: Yi-Jou Chuang / Dramaturgische Beratung: Barbara Schmidt-Rohr / Artistic Assistance: Cheng-Ting Chen. The first research process was co-produced by “K3/Zentrum für Choreographie Hamburg” and funded by the “Hamburgische Kulturstiftung” and the “Behörde für Kultur und Medien der Freien Hansestadt Hamburg”.

Photo Anja Beutler

The gap that a missing person leaves behind is like a missing thread in a tissue. The perceptible absent body produces a jiggling mesh of gravitation and emotion. In the remaining space, facts, despair, love and hope intertwine. No words, no work of art can offer consolation, for the void created by violent disappearances.

(AUSENCIA)  is a tribute to the missing and their relatives. Transformable movements explore the path between individual grief and collective action. Personal pains meet, unite and transform into a network of mutual supporting hands. On stage, dancers, stage designer and musicians represent the emerging community. A collective body arises. But, what happens with those who are missing? How can we embody them? The choreography feels the performativity of what we call “floating bodies” in their presence and none presence. The uncertainty about the fate of beloved prevents any farewell. In this sense, the choreography honors the resilience of those directly affected, as well as all societies which are daily struggling with the concealment and impunity of these violent acts.

LOOK CLOSER UNTIL YOU TOUCH IT (2016)

Concept: Andrea Krohn / Performers: Eva Glitsch, Christine Kristmann, Carolin Jüngst, Andrea Krohn / Dramaturgy Assistance: Markus Posse

Imagine all those tiny sight lines between dancers and audience as little threads jumping chaotically through the space. Can a dancer follow those invisible threads, grab or maybe even create them? As the human gaze is fleeting, movements also vanish every moment. Observe carefully what you see while it’s happening. Listen to our voices. Here… there… now… gone. Close your eyes. What do you see?

LOOK CLOSER UNTIL YOU TOUCH IT explores the diverse possibilities of paths a dancer can create to be looked at. After all dance is impossible to catch and register, dance is an ephemeral art. The piece can be presented both as a solo lecture performance or as a group choreography. Using theater tools such as light and surrounding sound, the piece invites the audience to follow simple space orientations with their eyes. By doing so it questions the personal freedom of gaze, specially when looking at a dance performance. Despite the frontal alignment, the spoken instructions create a participative piece without ever physically approaching the audience. A choreography about interaction and expectations on the action of looking, that questions dance as a visual art.

 

WVWVWVWVWVWVWVE (2013) 

Dancers: Polyxeni Angelidou, Jobina Bardai, Nelly Hakkarainen / Sound designers: Theresa Stroetges and Helen Heß / Thanks to: LAC Portugal, Theater Haus Berlin Mitte and Tanzbasis.

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The sea, depending on the weather, on the moon, on the winds, change constantly its forms, just like the fluid system of the body underlies presence and transformation, flowing between rest and activity, tension and relaxation.

The soundscape develop from the breath of the dancers, and is then looped and live transformed by the sound designers, accompanying the movement and the different atmospheres created.

Like the sea, the piece aims to create a wave experience for the public: a dramaturgical line that grows from low to high tide, and back to low tide.

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