‘Sometimes it’s there’ is an intimate performance created by two young choreographers and friends, born out of a need to join their creative forces. This atmospheric piece is a search for subtle shifts of meaning in movement, words, sound, and light. The performers play with emotions and humour, both introvert and extrovert, to create a hypnotic and warm-hearted dance performance.
‘Sometimes it’s there’ is an intimate performance created by two young choreographers and friends, born out of a need to join their creative forces. This atmospheric piece is a search for subtle shifts of meaning in movement, words, sound, and light. The performers play with emotions and humour, both introvert and extrovert, to create a hypnotic and warm-hearted dance performance.
Ulrika Kinn Svensson and Koen De Preter both graduated from Fontys Dance Academy in Tilburg, Holland, in 2003. As their graduation project they created the duet ‘Follow, follow’ and soon after found their way into the international dance world. Ulrika worked together with Sidi Larbi Cherkaoui, Chris Haring and T.R.A.S.H. Koen worked together with Raimund Hoghe, Sasha Waltz, Keren Levi and Fanny and Alexander. He has also created four of his own pieces under the banner of fABULEUS in Leuven (BE). The most recent ‘We dance to forget’ was selected by the international festival circuit.
Creation and performance: Koen De Preter and Ulrika Kinn Svensson
Dramaturgy: Lou Cope and Annette van Zwoll
Light design: Tom Brooijmans
Music arrangement: Koen De Preter en Arthur van der Kuip
Costume design: Elisabeth Kinn Svensson
Project manager: Karolien Derwael / klein verzet vzw
Photography and Lay-out: tandesign.be
Registration dvd Rudi stichting Kino Klumpkens
Sometimes it’s there’ is a NWE Vorstproduction (theater De NWE Vorst, Tilburg)
Supported by Nederlands Fonds voor Podiumkunsten (the Dutch Fund for performing arts), de Vlaamse Overheid (the Flemish Government) , CC Berchem/ccBe (Antwerp) and Melkweg Theater (Amsterdam)
28/29 Aug 10 Flachland Festival Arena Berlin flachlandfest.de
21 May 11 cultuurcentrum C-mine Genk cultuurcentrumgenk.be
LINKS:
Koen De Preter’s Profile on Contemporary Performance Network.
Festival Escrita na Paisagem is looking for works to be presented at its Video-Performance Showroom, which will take place between the 20th and the 23rd September, in Évora, Portugal.
DD Dorvillier is a New York based choreographer, performer, and teacher. In 2003 she and composer David Kean were awarded two Bessies for Choreography and Soundscore of Dressed for Floating (Danspace Project, 2002). Her No Change or “freedom is a psycho-kinetic skill” (Danspace Project/Context Studios, 2005), has been shown in Festivals and theaters in places such as ImpPulsTanz (Vienna, Austria), Tseh Festival/Springdance Dialogues (Moscow, Russia), La Caldera (Barcelona, Spain), Lignes de Corps (Valenciennes, France), The Performance Space (Sydney, Australia), Dance Week Festival (Zagreb, Croatia), and The Melkweg (Amsterdam, Holland).
Dorvillier has been in the works of or collaborated with Jennifer Monson, Jennifer Lacey, Boaz Barkan, Heather Kravas,Yvonne Meier, Karen Finley, Jan Ritsema, and Sarah Michelson, among others. She has been a guest vocalist for Elliot Sharp’s Carbon, and for composers Jonathan Bepler and Zeena Parkins, with stage acting credits in the works of Carmelita Tropicana, Salley May, Circus Amok, and Pavol Lishka, and the films of Torey Vasquez and Iki Nakagawa. In 2000 she inititated human future dance corps supporting her individual work as well as collaborations with director/playwright, Peter Jacobs. Their works together include Die flasche ist ganz leer (PS 122, 1999), Wind (The Eternal Return of the Same) (The Kitchen, 2001), and Coming Out of the Night With Names (PS 122, 2004). In 2007 she created Half A Train, a collaborative photo installation with Flemish photographer David Berge. In 2008/09 she will be part of Parades & Changes, replays, a re-enactment of Anna Halprin’s seminal Parades & Changes (1965), initiated by French choreographer Anne Collod in collaboration with Anna Halprin. This year as well she will also perform in Jennifer Lacey and Nadia Lauro’s Les Asistantes.
Dorvillier has an established reputation as a teacher of Skinner Releasing Technique as well as her particular approach to performance making and physical training, teaching worldwide. She has been a Movement Research Artist in Residence (‘95/’96, ’07/’08). In 1999 & 2000 she was guest co-editor of Movement Research’s Performance Journal, the “Release” double issue, and was curator of the Movement Research Festival in 2004 and 2005. From 1996 to 2004 she curated HOTHOUSE, an infamous improvisational performance series at Performance Space 122 in New York. She is a 2007 recipient of the prestigious Foundation for Contemporary Arts Fellowship.
Since the creation of the Carniceria Teatro (Butchery Theatre), in Madrid in 1989, Rodrigo García and the actors in his company have developed an experimental form of theatre based on the body, matter and oral expression. Close to visual arts and dance, the Argentinean director favours crude and poetic language. He works on objects and matter as much as on the energy of bodies on stage. Construction and deconstruction, fragments, splinters, violence are part of this non-conformist’s playwriting. From the writing to the stage, the playwright’s political and radical intention seems literally to take shape through visions linked to current events. As well as directing other playwrights, and staging theatrical happenings, he has written over fifteen plays since Acera derecha (1989) and among the more recent, After Sun (2000), I bought a spade at Ikea’s to dig my grave (2002), The Story of Ronald, the McDonald’s Clown, Jardinería humana (2003), Borges + Goya and I scattered my ashes at Eurodisney (2006). At the Avignon Festival, Rodrigo García presented After Sun, I Think You Have Misunderstood Me in 2002 and The Story of Ronald, the McDonald’s Clown in 2004.
In this new show, the Argentinean stage director Rodrigo García, returns to his childhood memories. The title sets the pace, that of the cooking time of a steak. But Very rare. Rare. Medium Rare. Charred. is a way of revisiting the little known Argentinean expression of “La Murga” and the carnival “Murgueros” (carnival-goers from poor districts) who devote themselves to it all year long, making minute preparations that go from costumes to rehearsals. Rodrigo García remembers his fascination as a child for the festive aspect of the event, with its basic dances and street music, where percussions and colours encourage excess. Today, he concentrates on what lies behind this celebration: a form of protest, an unresolved social issue. For the first time, the director, together with his long-time actor accomplice, Juan Loriente, integrates a fifteen person strong troupe of “Murgueros”, carnival musicians and dancers. The desire to create a new form of fiction, to break with old habits and to build a new collective world stemmed from this “meeting with people who have never done any theatre and who don’t even speak the same language”. The creative process interweaves writing based on these exchanges with images shot in Buenos Aires. These relay each other to produce a novel vision, a novel poetic agit prop event. (from the Festival d’Avignon)
IMAGES:
[nggallery id=16]
From the Artistic Director:
We are looking forward to presenting you with another three weeks of international art and theory. Choreographers, directors, scholars, artists and musicians from everywhere from Tokyo to New York to Johannesburg are coming to Hamburg with their view of our reality – and this year, for the first time they’ll be performing in the Deichtorhallen and on the Alster.
NEW SPACES
Thank you! Thanks to your huge interest in last year’s line-up, we are now reaching maximum capacity and must expand. This year, one of the International Summer Festival exhibitions will be in the Deichtorhallen: the legendary White Bouncy Castle by American choreographer William Forsythe. The second innovation is the Hamburg International Summer Academy, which opens its doors to the world for the first time, running alongside the festival– in collaboration with Hamburg University and the Körber Foundation. Founded by Nikolaus Müller-Schöll, Chair of Theatre Research, renowned practitioners and festival artists will teach thirty postgraduate students from across Europe.
OPENING
The summer festival helps Hamburg: So that we don’t become notorious as a venue that puts on Disney-style musicals, we have asked New York’s most internationally sought-after theatre artists to work with the Burgtheater to develop a musical.
Nature Theatre of Oklahoma are opening the summer festival with LIFE AND TIMES – EPISODE ONE. It’s not a blockbuster that comes with its own promotional Happy Meal, rather it’s the next big thing from New York. We promise. Israeli-British choreographer Hofesh Shechter, the discovery of 2008’s festival, has meanwhile become a worldwide star.
His new piece POLITICAL MOTHER had its premiere as this programme went to press and for the festival opening the company will take to Hamburg’s biggest stage with 15 dancers and musicians. Jérôme Bel’s new piece CÉDRIC ANDRIOUX presents a profile of one of the central dancers of Merce Cunnigham in a German premiere during the opening weekend.
THEATRE FROM AROUND THE WORLD
Philippe Quesne’s melancholic piece in the snow was one of the highlights of last year’s festival. We have co-produced his new piece BIG BANG, which is coming to Hamburg direct from the Avignon festival. Japanese artist Toshiki Okada is still not forty years old, but has already developed into one of today’s leading directors. In Hamburg he presents a wonderful evening on the contemporary Japanese working day. Big Art Group from New York exploit their multimedia film theatre to constantly confront the big issues of our time. THE SLEEP uses old cinema technology and new live music to tell of a threatened world at the start of the 20th century.
FOCUS: WATER
Last year we so enjoyed creating artistic projects on the theme of the financial markets, that the focus of this year’s festival is WATER. For years, water has been one of the resources at the centre of an increasingly intense political struggle. Following the increase in floods, droughts and other extreme weather events it is simultaneously becoming more and more threatened. We have invited artists and practitioners from Benin to New York to come to Hamburg with projects on water: A contemplative, exclusive island on the Alster awaits them, along with a bicycle intervention , a lab on the Kampnagel grounds, a one-woman show from South Africa and top-class speakers, who explain to us (among other things) why one cup of coffee requires a hundred litres of water.
STARS
Two big names on the international theatre scene are closing the festival. Exceptional Belgian choreographer Alain Platel takes a bow with his wonderful poetic evening OUT OF CONTEXT – FOR PINA in front of Wuppertal’s star choreographer.
And as always the last night of the festival is a reason to spend the whole night at Kampnagel: Forced Entertainment from England kick start proceedings with a 6-hour evening of story telling
AND ON THE THOUSANDTH NIGHT, before you sing at ORCHESTRA KARAOKE and can dance to BLOCKPARTY into the small hours.
MUSIC
This year we are expanding our theatre line-up with a series of special concerts. Whale Watching Tour, an insider tip along the lines of Antony and the Johnsons, open the event. After a year away from the stage, Norwegian metal legends Ulver perform one of their rare concerts, Blixa Bargeld and Alva Noto make their German debut and 1000 Robota exclusively present their new record, performing with classical musicians.
Matthias von Hartz
Artistic Director
FR 13.08. / SA 14.08. / SU 15.08. / TU 17.08. / WE 18.08. / TH 19.08. / FR 20.08. / SA 21.08. / SU 22.08. / TU 24.08. / WE 25.08. / TH 26.08. / FR 27.08. / SA 28.08. Deichtorhallen Hamburg
It is an impressive 34 metres long, 13 metres wide, 11 metres tall and 2 tonnes in weight and has even earned a place in the Guiness Book of Records as the largest art installation for an indoor space: the WHITE BOUNCY CASTLE. The festival invites both young and old onto this ‘anti-stage’ to jump for joy and feel light as a feather. With the inflatable castle, William Forsythe and Dana Caspersen have conceived a choreographic space, in which there are only participants and no audience, for every visitor is a dancer, choreographer and spectator, all at the same time. The music of Joel Ryan plays an important role, as they react to what is happening in the bouncy castle. William Forsythe has revolutionised contemporary dance and through his works has detached the practice of ballet from its associations with the classical repertoire and has turned it into a dynamic art form.
„As soon as someone steps inside the castle, the dance has already begun.“ [William Forsythe]
The Forsythe Company is being supported by the city of Dresden and the State of Saxony as well as the city of Frankfurt am Main and State of Hessen. The Forsythe Company is Company-in-Residence at Dresdens Festspielhaus Hellerau and at the Bockenheimer Depot in Frankfurt am Main. Special thanks goes to Susanne Klatten for her support of the Forsythe Company.
Except on mondays the WHITE BOUNCY CASTLE can be visited daily from 10 a.m. till 1:30 p.m. as well as from 2:30 p.m. till 8 p.m. in the Deichtorhallen (Deichtorstrasse 1-2, 20095 Hamburg). The ticket price is 4 Euro (adults), 2 Euro (children) resp. 8 Euro (families) for 15 minutes. Group (10 people or more) will only be admitted after advance reservation under 040 270 949 49.
From the Artistic Director:
We are looking forward to presenting you with another three weeks of international art and theory. Choreographers, directors, scholars, artists and musicians from everywhere from Tokyo to New York to Johannesburg are coming to Hamburg with their view of our reality – and this year, for the first time they’ll be performing in the Deichtorhallen and on the Alster.
NEW SPACES
Thank you! Thanks to your huge interest in last year’s line-up, we are now reaching maximum capacity and must expand. This year, one of the International Summer Festival exhibitions will be in the Deichtorhallen: the legendary White Bouncy Castle by American choreographer William Forsythe. The second innovation is the Hamburg International Summer Academy, which opens its doors to the world for the first time, running alongside the festival– in collaboration with Hamburg University and the Körber Foundation. Founded by Nikolaus Müller-Schöll, Chair of Theatre Research, renowned practitioners and festival artists will teach thirty postgraduate students from across Europe.
OPENING
The summer festival helps Hamburg: So that we don’t become notorious as a venue that puts on Disney-style musicals, we have asked New York’s most internationally sought-after theatre artists to work with the Burgtheater to develop a musical.
Nature Theatre of Oklahoma are opening the summer festival with LIFE AND TIMES – EPISODE ONE. It’s not a blockbuster that comes with its own promotional Happy Meal, rather it’s the next big thing from New York. We promise. Israeli-British choreographer Hofesh Shechter, the discovery of 2008’s festival, has meanwhile become a worldwide star.
His new piece POLITICAL MOTHER had its premiere as this programme went to press and for the festival opening the company will take to Hamburg’s biggest stage with 15 dancers and musicians. Jérôme Bel’s new piece CÉDRIC ANDRIOUX presents a profile of one of the central dancers of Merce Cunnigham in a German premiere during the opening weekend.
THEATRE FROM AROUND THE WORLD
Philippe Quesne’s melancholic piece in the snow was one of the highlights of last year’s festival. We have co-produced his new piece BIG BANG, which is coming to Hamburg direct from the Avignon festival. Japanese artist Toshiki Okada is still not forty years old, but has already developed into one of today’s leading directors. In Hamburg he presents a wonderful evening on the contemporary Japanese working day. Big Art Group from New York exploit their multimedia film theatre to constantly confront the big issues of our time. THE SLEEP uses old cinema technology and new live music to tell of a threatened world at the start of the 20th century.
FOCUS: WATER
Last year we so enjoyed creating artistic projects on the theme of the financial markets, that the focus of this year’s festival is WATER. For years, water has been one of the resources at the centre of an increasingly intense political struggle. Following the increase in floods, droughts and other extreme weather events it is simultaneously becoming more and more threatened. We have invited artists and practitioners from Benin to New York to come to Hamburg with projects on water: A contemplative, exclusive island on the Alster awaits them, along with a bicycle intervention , a lab on the Kampnagel grounds, a one-woman show from South Africa and top-class speakers, who explain to us (among other things) why one cup of coffee requires a hundred litres of water.
STARS
Two big names on the international theatre scene are closing the festival. Exceptional Belgian choreographer Alain Platel takes a bow with his wonderful poetic evening OUT OF CONTEXT – FOR PINA in front of Wuppertal’s star choreographer.
And as always the last night of the festival is a reason to spend the whole night at Kampnagel: Forced Entertainment from England kick start proceedings with a 6-hour evening of story telling
AND ON THE THOUSANDTH NIGHT, before you sing at ORCHESTRA KARAOKE and can dance to BLOCKPARTY into the small hours.
MUSIC
This year we are expanding our theatre line-up with a series of special concerts. Whale Watching Tour, an insider tip along the lines of Antony and the Johnsons, open the event. After a year away from the stage, Norwegian metal legends Ulver perform one of their rare concerts, Blixa Bargeld and Alva Noto make their German debut and 1000 Robota exclusively present their new record, performing with classical musicians.
Matthias von Hartz
Artistic Director
FR 13.08. / SA 14.08. / SU 15.08. / TU 17.08. / WE 18.08. / TH 19.08. / FR 20.08. / SA 21.08. / SU 22.08. / TU 24.08. / WE 25.08. / TH 26.08. / FR 27.08. / SA 28.08. Deichtorhallen Hamburg
It is an impressive 34 metres long, 13 metres wide, 11 metres tall and 2 tonnes in weight and has even earned a place in the Guiness Book of Records as the largest art installation for an indoor space: the WHITE BOUNCY CASTLE. The festival invites both young and old onto this ‘anti-stage’ to jump for joy and feel light as a feather. With the inflatable castle, William Forsythe and Dana Caspersen have conceived a choreographic space, in which there are only participants and no audience, for every visitor is a dancer, choreographer and spectator, all at the same time. The music of Joel Ryan plays an important role, as they react to what is happening in the bouncy castle. William Forsythe has revolutionised contemporary dance and through his works has detached the practice of ballet from its associations with the classical repertoire and has turned it into a dynamic art form.
„As soon as someone steps inside the castle, the dance has already begun.“ [William Forsythe]
The Forsythe Company is being supported by the city of Dresden and the State of Saxony as well as the city of Frankfurt am Main and State of Hessen. The Forsythe Company is Company-in-Residence at Dresdens Festspielhaus Hellerau and at the Bockenheimer Depot in Frankfurt am Main. Special thanks goes to Susanne Klatten for her support of the Forsythe Company.
Except on mondays the WHITE BOUNCY CASTLE can be visited daily from 10 a.m. till 1:30 p.m. as well as from 2:30 p.m. till 8 p.m. in the Deichtorhallen (Deichtorstrasse 1-2, 20095 Hamburg). The ticket price is 4 Euro (adults), 2 Euro (children) resp. 8 Euro (families) for 15 minutes. Group (10 people or more) will only be admitted after advance reservation under 040 270 949 49.
WE 18.08. / TH 19.08. / FR 20.08. Kampnagel – K2
Start of the show: Wed-18.08. / 8pm, Thu-19.08. / 9pm, Fri-20.08. / 8pm // Duration: 55 min. // in English
Price: 22€ (10€ red.)
Caden Manson is bringing the destruction of nature at the hands of humanity to the stage, as a fascinating-destructive evening of theatre. Based on the apocalyptic classic, ‘The Purple Cloud,’ an explorer undertakes an expedition to the as yet undiscovered North Pole. But during his absence the world is threatened by a poisonous cloud. In an apocalyptic round dance of images, the piece draws a picture of a resigned and apathetic society, using the staging methods from early cinema technology, Victorian object theatre and Real-Time technology. BIG ART GROUP constantly focuses on the production of images and makes the spectator look critically at their own perceptions.
“With their dense, text-heavy shows, Manson and Nelson are enamored of spectacle, and they fully exploit the excitement and sadness one should feel watching something as evanescent as theater”. [New Yorker]
TH 26.08. / FR 27.08. Kampnagel – K6
Start of the show: 9 p.m. // Duration: 85 Min.
Tickets: 36-17€ (12-8€ red.)
Flemish choreographer Alain Platel stages emotional emergencies, simply through movement. Nine dancers, inspired by the motif of ecstasy, immerse themselves in a fragile world and create touching images that speak of the excessive demands of life, that show the social pro and contra and present human existence in all its physical and psychological forms. The virtuoso ensemble creates a perceptive portrait of our time, oscillating between communal exuberance and personal loneliness. Alain Platel has shaped European dance for twenty years and is among the most influential choreographers of his generation.
TH 12.08. / FR 13.08. / SU 15.08. / MO 16.08. Kampnagel – K2
Start of the show: Thu-12.08. / 9pm, other shows / 8pm // Duration: 210 min. // in English with German supertitles
Price: 22€ (10€ red.)
Life: the musical. This piece explores the early years of Kristin Worall through country music, rhythmic gymnastics and the voices of six wonderful New York performers. In its latest stroke of genius, Nature Theater of Oklahoma combines its love of conceptual art with catchy musical melodies to create an extraordinary epic about an ordinary life. Seemingly banal stories from an American middle class biography enter into a realm of universal memory, in which we rediscover our own stories, images, joys, hopes and embarrassments. Nature Theater of Oklahoma is internationally renowned as one of the most important theatre groups in the world. The first version of their musical was invited to the BerlinTheatertreffen 2010.
Life: the musical. This piece explores the early years of Kristin Worall through country music, rhythmic gymnastics and the voices of six wonderful New York performers. In its latest stroke of genius, Nature Theater of Oklahoma combines its love of conceptual art with catchy musical melodies to create an extraordinary epic about an ordinary life. Seemingly banal stories from an American middle class biography enter into a realm of universal memory, in which we rediscover our own stories, images, joys, hopes and embarrassments. Nature Theater of Oklahoma is internationally renowned as one of the most important theatre groups in the world. The first version of their musical was invited to the BerlinTheatertreffen 2010.
More Information on their website
Kampnagel Hamburg
Jarrestraße 20
D-22303 Hamburg
Phone: +49 40 270 949-0
Fax: +49 40 270 949-11
E-mail: MAIL@KAMPNAGEL.DE
Ticket Hotline: +49 40 270 949-49
The Fukuoka Prize was established to honor outstanding achievements by individuals or groups/organizations in preserving and creating the unique and diverse cultures of Asia. The aim is to foster and increase awareness of the value of Asian cultures as well as to establish a framework within which Asians can learn from, and share with, each other.
Prize money: 3,000,000 yen
To be presented to individuals/groups that have made outstanding contributions in the cultivation and/or advancement of the unique and diverse arts and culture of Asia. It covers the fields such as fine arts, literature, music, drama, dance, film, architecture, traditional and ethnic culture.
Mr. Ong Keng Sen’s productions are shaped by modern sensibility which brings together Asian and European performance traditions in striking way. He has won international acclaim as a director. He has been a pioneer at the international frontier of theatrical art: his plays do not disregard tradition, but still place a premium on physicality, and remain true to the spirit of pop art.
Mr. Ong was born in Singapore in 1963 He graduated from the Faculty of Law, National University of Singapore, in 1989. In 1988, while still at university, he founded ‘TheatreWorks’, and began his career as an artistic director. From 1993 to 1994, he studied at Tisch School of the Arts, New York University, and obtained an M.A. in Performance Studies. Around this time, his productions were staged in the US, Europe and Japan, and his name became well known to the world. Since then he has been offered commissions by major theatres and arts festivals in Asia and Europe, and has directed a great variety of plays. In 2003, he received the Singapore Cultural Medallion Award (Theatre).
READ MORE –>https://contemporaryperformance.com
The Fukuoka Prize was established to honor outstanding achievements by individuals or groups/organizations in preserving and creating the unique and diverse cultures of Asia. The aim is to foster and increase awareness of the value of Asian cultures as well as to establish a framework within which Asians can learn from, and share with, each other.
Prize money: 3,000,000 yen
To be presented to individuals/groups that have made outstanding contributions in the cultivation and/or advancement of the unique and diverse arts and culture of Asia. It covers the fields such as fine arts, literature, music, drama, dance, film, architecture, traditional and ethnic culture.
Mr. Ong Keng Sen’s productions are shaped by modern sensibility which brings together Asian and European performance traditions in striking way. He has won international acclaim as a director. He has been a pioneer at the international frontier of theatrical art: his plays do not disregard tradition, but still place a premium on physicality, and remain true to the spirit of pop art.
Mr. Ong was born in Singapore in 1963 He graduated from the Faculty of Law, National University of Singapore, in 1989. In 1988, while still at university, he founded ‘TheatreWorks’, and began his career as an artistic director. From 1993 to 1994, he studied at Tisch School of the Arts, New York University, and obtained an M.A. in Performance Studies. Around this time, his productions were staged in the US, Europe and Japan, and his name became well known to the world. Since then he has been offered commissions by major theatres and arts festivals in Asia and Europe, and has directed a great variety of plays. In 2003, he received the Singapore Cultural Medallion Award (Theatre).
In all his activities, Mr. Ong is always asking himself the fundamental question, ‘What does it mean, today, to live as an artist?’ As a theatre director, he has fixed his gaze at the geographically vast expanse of Asia and the Western world, and also across a long stretch of historical memory. The Flying Circus Project, which has been in continuous development since 1996, has provided a landmark opportunity for performers from diverse backgrounds, both Asian and Western artists of classical and contemporary performing art as well as those from non-theatrical backgrounds, to work together. This gave birth to innovative stage adaptations of Shakespearean plays such as Lear (1997-99) and Desdemona (2000-01), which was performed at the Fukuoka Asian Art Museum. In Sandakan Threnody (2004) and The Continuum: Beyond the Killing Fields (2001-10), which are classified in a new genre called ‘docu-performances’, he traced the records of warfare in modern Asia and presented these on stage. Then the stage became a thrilling space where the audience, too, could inspect Asian history through a sharply critical lens.
Mr. Ong Keng Sen is one of the leaders of the international performing world, whose work has successfully broken down the simplistic dualism which traditionally separate the classical from the contemporary arts, and the East from the West. By thus transcending barriers between genres and nations, he has contributed greatly to a revaluation of the fundamental and universal power of art through his sharp awareness of contemporary issues. For this contribution, he is truly worthy of the Arts and Culture Prize of the Fukuoka Prize.
d performance community. Over the past 25 years what was once an abandoned school has become one of the world’s leading arts institutions, an esteemed presenter of experimental and alternative performance and a home to countless emerging artists.
Located on the corner of First Avenue and 9th Street, the former Public School 122 was abandoned and in disrepair when a group of visual artists began to use the old classrooms for studios. In 1979, choreographer Charles Moulton began holding rehearsals and workshops in the second floor cafeteria, and invited fellow performers Charles Dennis*, Tim Miller and Peter Rose to collaborate in the administration and use of the space.
P.S. 122 began its presentation history in 1980 with the first Avant-Garde-Arama, a multidisciplinary showcase and published its first complete calendar of performances, classes, workshops and more.
P.S.122 doubled its programming in 1986 when it converted the old “gym” on the first floor of the old school building into a performance space to be used for extended runs of small theatre groups and as a site for community meetings.
P.S. 122 now boasts two theatres with presentation programs of dance, performance, music, film, and video, professional technical and administrative staffs, a national touring program, an active commission program, low-cost rehearsal space and more. Its name is synonymous with ground-breaking, adventurous performance and a roster of artists that can mark the beginning of their careers from their performances here is impressive.
Today, Performance Space 122 remains committed to finding, nurturing and presenting the best and the brightest of emerging performing artists as well as discovering artists who are creating new disciplines, defying conventions, and expanding the parameters.
Wednesday, December – Sunday, December 5, 2010
Wednesday – Saturday at 8PM, Sunday at 6PM, LATE SHOW: Saturday at 10PM
Thursday Night Social: December 2
Performance Space 122 is a not-for-profit arts center in New York City, serving the dance and performance community. Over the past 25 years what was once an abandoned school has become one of the world’s leading arts institutions, an esteemed presenter of experimental and alternative performance and a home to countless emerging artists.
Located on the corner of First Avenue and 9th Street, the former Public School 122 was abandoned and in disrepair when a group of visual artists began to use the old classrooms for studios. In 1979, choreographer Charles Moulton began holding rehearsals and workshops in the second floor cafeteria, and invited fellow performers Charles Dennis*, Tim Miller and Peter Rose to collaborate in the administration and use of the space.
P.S. 122 began its presentation history in 1980 with the first Avant-Garde-Arama, a multidisciplinary showcase and published its first complete calendar of performances, classes, workshops and more.
P.S.122 doubled its programming in 1986 when it converted the old “gym” on the first floor of the old school building into a performance space to be used for extended runs of small theatre groups and as a site for community meetings.
P.S. 122 now boasts two theatres with presentation programs of dance, performance, music, film, and video, professional technical and administrative staffs, a national touring program, an active commission program, low-cost rehearsal space and more. Its name is synonymous with ground-breaking, adventurous performance and a roster of artists that can mark the beginning of their careers from their performances here is impressive.
Today, Performance Space 122 remains committed to finding, nurturing and presenting the best and the brightest of emerging performing artists as well as discovering artists who are creating new disciplines, defying conventions, and expanding the parameters.
Wednesday, December – Sunday, December 5, 2010
Wednesday – Saturday at 8PM, Sunday at 6PM, LATE SHOW: Saturday at 10PM
Thursday Night Social: December 2
Wednesday, November 10 – Saturday, November 13, 2010
Wednesday – Saturday at 8PM, LATE SHOW: Saturday at 10PM
Thursday Night Social: November 11
Artists: Iver Findlay, Marit Sandsmark with Diane Madden, Joey “the stab” Truman, Pal-Asle Pettersen, and Peter Warren.
Thursday, November 4 – Friday November 5, 2010
Thursday & Friday at 8PM
Thursday Night Social & Launch of the Gabriela Tudor Foundation: November 4
“Inventive, relaxed and joyful” – Alex Leo Serban, Elle magazine (on Serial Paradise)
Part 1: superGabriela Choreography & performance: Cosmin Manolescu
Part 2: dreams.land Concept & artistic direction: Cosmin Manolescu Performers: Camille Mutel & Litsa Kiousi
Remounted and presented in association with the New Museum & tbspMGMT | Upstairs
Dance
Thursday, October 21 – Saturday, October 30, 2010
Wednesday – Saturday at 8PM, LATE SHOWS: Saturdays at 10PM
Thursday Night Social: October 28
Dedicated to the Revolutions is a show about seven scientific revolutions that a grade eight teacher once said altered the course of humanity: Gutenberg, Copernican, Newtonian, Industrial, Darwinian, Nuclear and Information.
Erin Shields, Aimée Dawn Robinson, Chad Dembski Photo: Trevor Schwellnus
Six performers, not in any way experts in science and not apologizing for that, attempt to understand and question our notions of progress and knowledge and share that with an audience using things they found around the house.
Jacob Zimmer, Aimée Dawn Robinson Photo: Ömer Yükseker
With whiteboards, unrehearsed questions and answers, songs, and demonstrations, Small Wooden Shoe demonstrates the difficulty of demonstrating the effects of progress on our lives.
Small Wooden Shoe engages with the world in an honest, informal way while maintaining the need to step up and entertain. Absurd and delightful with a critical eye and a casual formalism, Small Wooden Shoe tries to help – and believes live performance might just be the best way.
Jacob Zimmer, Erin Shields, Chad Dembski Photo: Ömer Yükseker
Since 2006, Small Wooden Shoe has been developing Dedicated to the Revolutions by creating and presenting performances based on each of these revolutions in order to create a final piece that responds to a bigger picture of all of the revolutions and the very idea of revolutionary change.
Contemporary Performance is a social network and community organizing platform providing artists, presenters, scholars and festivals a platform to meet, share work, and collaborate. The term Contemporary Performance is used to describe hybrid performance works and artists that travel between the fields of Experimental Theatre & Dance, Video Art, Visual Art, Music Composition and Performance Art without adhering to one specific field’s practice.
Contact us: editor@contemporaryperformance.com
© Newspaper WordPress Theme by TagDiv
