New production TONIGHTS TUNE starts now!

From today together with Gabri M. Einsiedl, Dominik Grünbühel and Linda Samaraweerova I start to work on the new production.
The working title is TONIGHTS TUNE.
It'll be presented at WUK (Vienna) between 2-4 June 2009.
Every some time I'm going to publish the updates from our process.

Artistic direction: Radek Hewelt
Choreography and performance: Gabri M. Einsiedl, Dominik Grünbühel, Linda Samaraweerova, Radek Hewelt

Support: Kulturabteilung der Stadt Wien (MA7), WUK








TONIGHTS TUNE (working title) is going to concentrate on the relation between physicality and voice. What concerns this project in particular is a point where they both meet. It’s in the way the continuation of one of the aspects that were present in my last piece “Close-up” where in some point we connected quite abstract body forms with all sorts of verbal sounds that were related to breathing. All those sounds, together with choreography, created interesting emotional paths and tensions. In this new project I’d like to extend and enrich both: physicality and voice.

In this work we’re going to circulate around few topics:

Dance influence on the voice.
Each body can be seen as a particular music instrument. Our genetic abilities, physicality, forms we make, tensions have obviously an impact on our voice. We want to experiment with different forms and physical tasks and see how they affect and modulate the voice. Part of the material and the artistic output should come out of this research.

Voice influence on the physicality.
It’s an opposite process to the one I described above. The starting point in this case is the voice that leads to the dance. For instance singing very high tones creates very interesting physical patterns in the body that can be use as an input for dance/choreography.

Deconstruction of the material and puzzling the elements.
I’ve made once experiment while watching the movie. I watched quite emotional scene where the actor was slowly executing very physical task. Then I did it again with the sound turned off. Third time I put my own sound on it. The result was very intriguing and interesting. It changed the way of perceiving the scene. In new project I want to use similar method with the material we create. I can see it in quite a big range as the process of extracting the elements and juxtaposing them with each other in different relations. It leads to the next point that I describe below.

Abstraction and concreteness, abstraction and emotionality (Contrast).
The dance understood as making forms in time very often stays in the abstraction (or eventually brings some emotional output). The voice is much more related to concreteness and rather clear emotionality. In this work I’d like to achieve at the end a specific tension between those two. I’d like to create some kind of vibrating stream that would be open for interpretation or reading, a stream that would contain abstraction, concreteness and emotionality – and all those elements being in ongoing interaction.

Strong focus on musicality.
The artistic output of our work will be rich with different musical elements like sounds, rhythms, melodies and songs. I’d like to work with four dancers (including myself). Each of us can be considered as a different unique instrument. The aim is creating a performance that could be described as physical and musical concert.