NRLA 30th Anniversary Boxed Set
Eds. Dee Heddon, Jennie Klein and Nikki Milican

The catalogue is a limited edition Box Set that represents the unique spirit of the NRLA festival, as well as the diversity of its programme over the past 30 years. 70 contributors each offer their own perspective on and history of the longest-running Live Art festival in the world.

Celebrating 30 years of remarkable live arts practice, the anniversary catalogue contains:
3 specially produced DVDs, capturing 3 decades of work shown at the NRLA; comprehensive interviews with Artistic Director, Nikki Milican, telling the story of the founding of the NRLA, its early years, and its subsequent developments; newly commissioned essays by significant international artists and producers which reflect on the place of the NRLA in their own careers and on the international live art scene in general; anecdotal reflections which bring to life the distinctive energy – the liveness – of the NRLA; ‘Off the Radar’ – contributions from artists who once played a key role in the NRLA, but who have not been at the NRLA since its early years; a published ‘archive’ which lists, year by year, all the artists, works and events that have been programmed by the NRLA since its inception. This is the first time this information has been gathered in one place. At a glance, it is possible to see not only how the NRLA has developed, but the hundreds of artists, from around the world, who have appeared at the festival; and reproduction of all the front covers of the NRLA programmes and poster campaigns.

Where to Order:

New Moves International, 2010, Black boxed set comprising: 1979-2010 a personal history, 136 pages, colour and black and white images throughout. Archive 1979-2010, 40 pages, colour and black and white images throughout and 3-disc DVD-PAL series, all 21 cm x 29.7 cm

£45.00 To Order visit the website http://www.newmoves.co.uk

How to Embed links to your outside blog in your profile.

You can post your rss feed (links to posts) from your outside blog onto your profile page. In the bottom left hand column there is a section called rss. if you click on edit, you can put your rss feed URL from your outside blog there. Then you can drag that section onto the main part of your profile. The feed will either show just the titles or the title and a short excerpt. When people click on these they will be directed to the post on your outside blog site.

How to blog directly on your profile and be featured on the main page.

To make you’re own blog post, look in the upper right hand corner of the page where is says your name and has the inbox, alerts, friends, and settings. Just below that is a drop down menu that reads “Quick Add”. If you click on that you will see the option to make a blog post. Once you have made your post it will show up on your profile page and also on the main page of the site.

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Caden Manson
Contemporary Performance Network Administrator

Contemporary Performance is hosting an online video festival of performance works and excerpts from 06.14.2010 to 07.02.2010. We’ve curated some of our favorite user submissions and online videos from today’s leading contemporary artists and embeded them here. The videos range in purpose and content and include rehearsal videos, process videos, performance documentation, lectures, made for video, dance on camera, video art, and vj.

DAY 14

XLABFACTORY (Italy)
RACCONTI DEL MANDALA (Mandala’s stories)

A video synthesis of the interactive performance RACCONTI DEL MANDALA.
Performed by FRANCESCA DELLA MONICA who uses a “datasuite” for modifying video, her voice live and sound interactively. Based on a original novel by ANDREA BALZOLA (XLAB) structured in a YPERTEXT, it tells about 7 stories linked to several characters whose paths are similar to a mandala diagram. The goal is the center to which every character arrives coming from different ways, evoked by sound and video visions. The meaning is the necessity to find the center of sé in the chaotic networked society.

XLAB is a multimedia factory composed by Andrea Balzola Anna Monteverdi Mauro Lupone. It produced Multimedia Theatre, digital and interactive projects for show and exhibitions.The three components of XLAB works as teachers in Academy of Fine arts (BRERA, CARRARA) engaged in SOUND DESIGN, DIGITAL PERFORMANCE, MULTiMEDIA DRAMATURGY. They are also author of several essays and book about new media arts. XLAB has produced as DIGITAL PERFORMANCE:

Aaron Landsman (USA)
Excerpts from Open House

Excerpts from The Foundry Theatre’s production of “Open House,” written by Aaron Landsman, directed by Melanie Joseph, performed by Raul Castillo, Heidi Shreck and Paul Willis. Performed March 2008 in Greenpoint Brooklyn. Commissioned by The Foundry, this piece was presented in 24 apartments all over the city of New York, from a squat in Bushwick, to a mansion on Staten Island, to an artist loft in the South Bronx.

Aaron Landsman makes live performances that mix scenes, monologues, dance, installation and the occasional cheap pratfall. Many of his pieces are staged in apartments, offices and other familiar locations, while others utilize established performance venues. Working this way allows the setting to become its own character, helps implicate the audience into the action and exploits the theatricality of places we go every day. Currently he is working on several projects, including “Appointment” an ongoing series of performances in small offices for single audience members.

Philipp Gehmacher (Austria)
Like there is no tomorrow

coproduced by Tanzquartier Wien, Kaaitheater Brussels, Montpellier Danse 07, Centre National de la Danse Pantin and Pact Zollverein Essen

Philipp Gehmacher grew up in Salzburg and in Vienna. In 1993 he went to London Contemporary Dance School where he received a BA in Contemporary Dance in 1996. After the first solo “the mumbling fish” he enrolled for an MA Dance Studies at Laban Centre London which he was awarded in 1999. After ten years in London he returned to Vienna during the Summer 2003.

During his final period in London he choreographed the pieces “in the absence”, “Holes and Bodies” and “embroyder”. For the opening of Tanzquartier Wien in 2001 he created the duet “good enough”, which, after a period of international touring, was reworked into a new version with the choreographer Raimund Hoghe in 2004 and last shown at ÖsterreichTanzt 06.
With “mountains are mountains” he presented his first evening length group piece coproduced by Springdance Utrecht, Tanzquartier Wien, Podewil Berlin and Vooruit Gent. During the season 2004/05 he realised the project “incubator”, which was created over four stops in Vienna, Berlin, Brussels and Lyon. The coproducing partners Tanzquartier Wien, Hebbel am Ufer Berlin, Kaaitheater Brüssel and Les Subsistances Lyon were each presenting a unique version of the developing piece.

In Spring 2006 the solo “das überkreuzen beyder hände” with the pianist Alexander Lonquich, initiated by Mozarteum Salzburg, Szene Salzburg and ImPulsTanz Wien, was premiered at the Dialoge Festival in the Mozarteum Salzburg. Upon an invitation of Montpellier Danse Festival, Philipp Gehmacher created in the frame of Le Vif de Sujet the solo “between now and then” for the French dancer Frédéric Schrackenmuller.

Colin Gee (USA)
Untitled, (Lightwell)

“Untitled, (Lightwell)” is from the Portrait and Landscape series. The performance seeks a counterpoint between character ⎯ often defined by a brief set of movements ⎯ and architectural setting, whether interior or exterior. A tacit drama emerges between these elements, even as expectations of narrative and linear time are subverted by the brief, looping performances.

Trained as an actor at the Jacques Lecoq School in Paris, Colin Gee is currently the founding Whitney Live artist-in-residence at the Whitney Museum of American Art. He was the 2009 visiting artist-in-residence at the Cathedral Church of St John the Divine.

Contemporary Performance is hosting an online video festival of performance works and excerpts from 06.14.2010 to 07.02.2010. We’ve curated some of our favorite user submissions and online videos from today’s leading contemporary artists and embeded them here. The videos range in purpose and content and include rehearsal videos, process videos, performance documentation, lectures, made for video, dance on camera, video art, and vj.

DAY 14

XLABFACTORY (Italy)
RACCONTI DEL MANDALA (Mandala’s stories)

A video synthesis of the interactive performance RACCONTI DEL MANDALA.
Performed by FRANCESCA DELLA MONICA who uses a “datasuite” for modifying video, her voice live and sound interactively. Based on a original novel by ANDREA BALZOLA (XLAB) structured in a YPERTEXT, it tells about 7 stories linked to several characters whose paths are similar to a mandala diagram. The goal is the center to which every character arrives coming from different ways, evoked by sound and video visions. The meaning is the necessity to find the center of sé in the chaotic networked society.

XLAB is a multimedia factory composed by Andrea Balzola Anna Monteverdi Mauro Lupone. It produced Multimedia Theatre, digital and interactive projects for show and exhibitions.The three components of XLAB works as teachers in Academy of Fine arts (BRERA, CARRARA) engaged in SOUND DESIGN, DIGITAL PERFORMANCE, MULTiMEDIA DRAMATURGY. They are also author of several essays and book about new media arts. XLAB has produced as DIGITAL PERFORMANCE:

Aaron Landsman (USA)
Excerpts from Open House

Excerpts from The Foundry Theatre’s production of “Open House,” written by Aaron Landsman, directed by Melanie Joseph, performed by Raul Castillo, Heidi Shreck and Paul Willis. Performed March 2008 in Greenpoint Brooklyn. Commissioned by The Foundry, this piece was presented in 24 apartments all over the city of New York, from a squat in Bushwick, to a mansion on Staten Island, to an artist loft in the South Bronx.

Aaron Landsman makes live performances that mix scenes, monologues, dance, installation and the occasional cheap pratfall. Many of his pieces are staged in apartments, offices and other familiar locations, while others utilize established performance venues. Working this way allows the setting to become its own character, helps implicate the audience into the action and exploits the theatricality of places we go every day. Currently he is working on several projects, including “Appointment” an ongoing series of performances in small offices for single audience members.

Philipp Gehmacher (Austria)
Like there is no tomorrow

coproduced by Tanzquartier Wien, Kaaitheater Brussels, Montpellier Danse 07, Centre National de la Danse Pantin and Pact Zollverein Essen

Philipp Gehmacher grew up in Salzburg and in Vienna. In 1993 he went to London Contemporary Dance School where he received a BA in Contemporary Dance in 1996. After the first solo “the mumbling fish” he enrolled for an MA Dance Studies at Laban Centre London which he was awarded in 1999. After ten years in London he returned to Vienna during the Summer 2003.

During his final period in London he choreographed the pieces “in the absence”, “Holes and Bodies” and “embroyder”. For the opening of Tanzquartier Wien in 2001 he created the duet “good enough”, which, after a period of international touring, was reworked into a new version with the choreographer Raimund Hoghe in 2004 and last shown at ÖsterreichTanzt 06.
With “mountains are mountains” he presented his first evening length group piece coproduced by Springdance Utrecht, Tanzquartier Wien, Podewil Berlin and Vooruit Gent. During the season 2004/05 he realised the project “incubator”, which was created over four stops in Vienna, Berlin, Brussels and Lyon. The coproducing partners Tanzquartier Wien, Hebbel am Ufer Berlin, Kaaitheater Brüssel and Les Subsistances Lyon were each presenting a unique version of the developing piece.

In Spring 2006 the solo “das überkreuzen beyder hände” with the pianist Alexander Lonquich, initiated by Mozarteum Salzburg, Szene Salzburg and ImPulsTanz Wien, was premiered at the Dialoge Festival in the Mozarteum Salzburg. Upon an invitation of Montpellier Danse Festival, Philipp Gehmacher created in the frame of Le Vif de Sujet the solo “between now and then” for the French dancer Frédéric Schrackenmuller.

Colin Gee (USA)
Untitled, (Lightwell)

“Untitled, (Lightwell)” is from the Portrait and Landscape series. The performance seeks a counterpoint between character ⎯ often defined by a brief set of movements ⎯ and architectural setting, whether interior or exterior. A tacit drama emerges between these elements, even as expectations of narrative and linear time are subverted by the brief, looping performances.

Trained as an actor at the Jacques Lecoq School in Paris, Colin Gee is currently the founding Whitney Live artist-in-residence at the Whitney Museum of American Art. He was the 2009 visiting artist-in-residence at the Cathedral Church of St John the Divine.

Contemporary Performance is hosting an online video festival of performance works and excerpts from 06.14.2010 to 07.02.2010. We’ve curated some of our favorite user submissions and online videos from today’s leading contemporary artists and embeded them here. The videos range in purpose and content and include rehearsal videos, process videos, performance documentation, lectures, made for video, dance on camera, video art, and vj.

DAY 13

Robert Wilson

Since the late 1960s, Robert Wilson’s productions have decisively shaped the look of theater and opera. Through his signature use of light, his investigations into the structure of a simple movement, and the classical rigor of his scenic and furniture design, Wilson has continuously articulated the force and originality of his vision. Wilson’s close ties and collaborations with leading artists, writers, and musicians continue to fascinate audiences worldwide.

Einstein on the Beach

Shakespeares Sonette – Bob Wilson

Der Freischütz

„Der Freischütz als Videoclip. Ein schneller Ritt von der Romantik ins Heute.
Juliane Banse, Julia Kleiter, Steve Davislim, Dmitry Ivashenko, Roland Spiess, Paata Burchuladze, Klaus Kuttler, Reinhard Dorn, Mahler Chamber Orchestra, Philharmonia Chor Wien

INHALT

PREMIERE: BIG BANG – REGIE: PHILIPPE QUESNE/VIVARIUM STUDIO, PARIS
FINALE: X-SCHULEN
PREMIERE: BIG BANG – REGIE: PHILIPPE QUESNE/VIVARIUM STUDIO, PARIS

Philippe Quesnes Inszenierungen „L’Effet de Serge“ (2007) und „La Mélancolie des dragons“ (2008) waren im April 2009 ein großer Publikumserfolg im HAU und auf vielen internationalen Festivals zu sehen. Am 2. Juli um 19 Uhr feiert seine neueste Arbeit „Big Bang“ im HAU 2 Premiere, bevor sie dann zum Auftakt einer langen Tournee zum Festival d’Avignon und zum Sommerfestival nach Hamburg reist. Weitere Vorstellungen im HAU finden am 3. und 4. Juli um 19 Uhr statt und eine Voraufführung am 1. Juli um 20 Uhr.
„Big Bang“ evoziert die Vorstellung einer gigantischen Explosion, einer wohlbegründeten Theorie oder die einfache Lautmalerei des Comics. Das Stück spielt auf einer Insel, auf der eine gestrandete Gruppe die Welt neu schafft, zurückkehrt an den Anfang, um die Geschichte im Schnellvorlauf neu abzuspielen. Der Ort dient einer Folge von Bildern als Rahmen; kurze Szenen, kleine Musicals, eine quasi-anatomische Studie eines unerwartet verpflanzten menschlichen Mikrokosmos. Natürlich koexistieren Menschen und Tiere, Sprache und Schweigen, Alles und Nichts: Der Fluss des Lebens, vom Plankton bis zur Postmoderne.
Philippe Quesne bringt die gelebten Alltagsrituale der Moderne als kleine, bittersüße Zeremonien auf die Bühne. Sein Theater ist Werkstatt, Labor und „Lebensraum“, in dem der Mensch die Konfrontation mit extremen und ungewöhnlichen Situationen sucht. Dort experimentiert er, dort herrscht urbane Melancholie.
FINALE: X-SCHULEN

Beendet wird die aktuelle Spielzeit mit dem Projekt „X-Schulen“, das vom 1. bis 4. Juli in der Hector-Peterson-Schule am Tempelhofer Ufer, schräg gegenüber vom HAU 2, stattfinden wird. 23 Künstlerinnen und Künstler – u.a. Tamer Yigit, Vaginal Davis, Tim Etchells, Chris Kondek, Susanne Sachsse, Jeremy Wade und Rabih Mroué – haben dort auf drei unterschiedlichen Parcours Kurzinszenierungen bzw. -installationen entwickelt, die das Publikum auf einen Gang durch Schulräume, Flure und Nebengelasse einladen und dabei unterschiedlichste Aspekte des Schullebens beleuchten. Das Projekt unter der künstlerischen Leitung von Peter Kastenmüller, Matthias Lilienthal und Cecilie Ullerup Schmidt nimmt Anleihe bei den „X-Wohnungen“-Projekten und übersetzt sie auf die Institution Schule.
Die ca. zweistündigen Touren beginnen am Donnerstag und Freitag von 10.00 bis 11.10 Uhr und von 18.00 bis 19.10 Uhr im 10-Minuten-Takt, am Samstag und Sonntag von 14.00 bis 15.10 Uhr und von 19.00 bis 20.10 Uhr.
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Contemporary Performance is hosting an online video festival of performance works and excerpts from 06.14.2010 to 07.02.2010. We’ve curated some of our favorite user submissions and online videos from today’s leading contemporary artists and embeded them here. The videos range in purpose and content and include rehearsal videos, process videos, performance documentation, lectures, made for video, dance on camera, video art, and vj.

DAY 12

Wim Vandekeybus / Ultima Vez

Director, choreographer, actor and photographer Wim Vandekeybus was born on June 30th, 1963 in Herenthout (Belgium). Brought up in a rural environment as a son of a veterinarian, Vandekeybus was often in contact with animals in their natural environment. These experiences had a great emotional impact on him. Animals, their movements, their instinctive reactions and their trust in their own physical power are often integrated into his performances.

He began his studies in psychology in Leuven, but did not complete them, irritated, as he says himself, by the surplus of ‘objective science’. His interest in the complex relationship between body and spirit remained. A workshop with the Flemish theatre director and playwright Paul Peyskens brought him into contact with theatre. He followed some dance courses (classic, modern, tango) and took up film and photography.

In 1985 he auditioned for Jan Fabre. Vandekeybus was chosen and during two years he travelled the world with the The Power of Theatrical Madness, playing one of the two naked kings. While touring with Jan Fabre he met painter/photographer Octavio Iturbe in Madrid, who later became an important artistic collaborator.

In 1986 he withdrew for several months in Madrid with a group of young, inexperienced dancers calling themselves Ultima Vez (Spanish for ‘Last Time’) to work on his first production.

In June 1987 What the Body Does Not Remember premièred at the Toneelschuur in Haarlem (the Netherlands). The dancing in What the Body… was powered by the music of Thierry De Mey and Peter Vermeersch. With tempestuous energy and strength the performers made daring leaps, launched themselves into the air and smartly intercepted each other’s falls. Bricks were thrown above each other’s heads. Every gesture had to stick to an absolutely precise timing; the performers put their trust in and surrendered to their instincts.

Although the première was received with scepticism, the performance was soon being presented on international stages. In 1988, Wim Vandekeybus received the Bessie Award in New York for this production, which was credited “a brutal confrontation of dance and music: the dangerous, combative landscape of What the Body Does Not Remember.”

Since What the Body… Wim Vandekeybus has created nearly twenty performances with changing international casts and has made nearly as many film and video productions. From his very first performance, music has been an important stimulus for his productions. He has commissioned works from, among others, Peter Vermeersch, Thierry De Mey, David Byrne, Marc Ribot, Eavesdropper and David Eugene Edwards.

Ultima Vez “Spiegel”

Games are played: a dancer throws a stone in the air and remains under it until another dancer pulls or pushes him away, catching the stone. Every movement requires absolutely precise timing, and the dancers’ inexhaustible energy physically impacts viewers, setting them on the edge of their seats. Since his sensational 1987 debut, Belgian dancemaker Wim Vandekeybus and his company Ultima Vez (“The Last Time”) has stunned audiences and critics alike with risk-taking choreography. Now, 20 years later, with almost as many inspired creations to his credit, Vandekeybus presents Spiegel, a powerful, erotic work in which he looks in the mirror for inspiration from his entire oeuvre, pushing Ultima Vez to its limits in a fusion of live action, film, and music seething with emotion and sensuality. The score includes works by David Byrn.

LUX

MENSKE – Ultima Vez_Wim Vandekeybus