Radek Hewelt's blog

Short review from "A Visit To This Planet" at Standard

2010-12-02T09:18:00.002+01:00

The fragment of the review from Der Standard by Helmut Ploebst (21.11.2010):

Vom Faun bis zum Alien

21. November 2010, 18:04

Britische und kontinentale Choreografie in St. Pölten und im Tanzquartier Wien

(...) Mit "A Visit To This Planet. Part I" von Oleg Soulimenko, uraufgeführt in den Tanzquartier-Studios, schließt sich der Bogen dieses Tanzwochenendes zwischen St. Pölten und Wien, zwischen dem angloamerikanischen und dem kontinentalen Tanz. Soulimenko, der durchaus von Paxton beeinflusst ist, nimmt unser Medienspektakel um Klimawandel, Krieg und Kometen auf die Schaufel.

Zu Beginn ist die Auslöschung des Menschen schon passiert. Drei etwas verrückte Aliens - mit dabei: Thomas Kasebacher und Radek Hewelt - verwenden die Bühne wie einen archäologischen Detektor und entdecken Erstaunliches in den Trümmern der Zivilisation. Eine subversive Arbeit, bei der dem Publikum das Lachen im Hals steckenbleibt. Auch eine Augenweide. Aber, gemessen an Cherkaoui und Co, eben eine der anderen Art.

(Helmut Ploebst/ DER STANDARD, Printausgabe, 22.11.2010)

Link:
http://derstandard.at/1289608403112/Vom-Faun-bis-zum-Alien

Review from "Sättigungsbeilage" by Helmut Ploebst

2010-11-15T10:42:00.005+01:00

Tanzquartier

Tanzgesättigte Twin Towers

von Helmut Ploebst | 15. November 2010, 10:22

"Andrea Bold zeigt im Tanzquartier ihre neue Arbeit "Sättigungsbeilage", die junge Choreografin Valerie Oberleithner präsentiert im WUK "Splendid Isolation"

"Ein Wochenende mit österreichischem Tanz in Wien: Andrea Bold zeigt im Tanzquartier ihre neue Arbeit "Sättigungsbeilage", die junge Choreografin Valerie Oberleithner präsentiert im WUK "Splendid Isolation".

Wien - Ein Huhn fragt: "Warum schauen die mich alle an?" Zur Beantwortung dieser Frage werden von dem Erzähler Radek Hewelt die großen Geister der Tanzgeschichte angerufen: Isadora, Merce, Pina. Und vor dem geistigen Auge des Zuschauers erscheinen sie dann auch, Duncan, Cunningham und Bausch. So beginnt Sättigungsbeilage der Choreografin Andrea Bold im Tanzquartier.

Drei Tänzer - neben Hewelt sind das Martin Tomann und Satu Herrala - loten mit Witz und Esprit die Formen jener Bewegungen aus, die im engeren Sinn unter die Kategorie "Tanzen" fallen. Doch die Sättigungsbeilage ist weniger eine Selbstvergewisserungsübung der Kunstform Tanz geworden als eine Kritik des Tanzens selbst. Kritik im positiven Sinn: Man macht sich nicht über das Tanzen lustig, sondern sucht nach Bedingungen, unter denen Tanz zu einer attraktiven Angelegenheit auf der Bühne wird.

Das wunderbare Trio bleibt dabei bemerkenswert cool. Es nimmt seinen Tanzstoff durch, bleibt aber distanziert zu dessen virtuosen Verlockungen. Wohl fühlt es sich in Gefahrenzonen, wie sie von Herrala einmal in einer gesprochenen Passage umrissen werden. Darin geht es um "Twin Towers in Arizona, die sich an der Schwerkraft erfreuen". Das ist keinesfalls zynisch, sondern ein poetischer Perspektivwechsel.

Die Antwort auf die Frage des Huhns kennt der Wind, der im Stück zarte Plastiksäckchen zum Tanzen bringt, wohl in Anspielung auf die berühmte Szene mit dem gleichen gespenstisch-zauberhaften Motiv in dem Film American Beauty. (...)"

derStandard, 15 November 2010

Link:

http://derstandard.at/1289607881700/Tanzquartier-Tanzgesaettigte-Twin-Towers

A Visit To This Planet. Part 1 - Premiere!

2010-11-14T23:19:00.004+01:00

A Visit To This Planet. Part 1 - a new performance by Oleg Soulimenko in which I have a pleasure to participate will have it's premiere this week on Thursday 18 November in TanzQuartier in Vienna.

From the TQW online programme (english version):

OLEG SOULIMENKO ^(RUS/A) / VIENNA MAGIC
A Visit To This Planet. Part I
THUR 18 NOV. + FRI 19 NOV. 20.30 in TQW / Studios

CONCEPT: Oleg Soulimenko | PERFORMANCE AND CHOREOGRAPHY: Thomas Kasebacher, Oleg Soulimenko, Radek Hewelt | STAGEDESIGN: Anke Philipp THEORY: Elke Krasny | LIGHTDESIGN: Roman Streuselberger | PRODUCTIONMANAGEMENT: Annette Pfefferkorn, Susanne Guggenberger | COPRODUCTION: Tanzquartier Wien and Vienna Magic | IN COLLABORATION WITH: PACT Zollverein Essen | WITH THE SUPPORT OF Stadt Wien and BMUKK

What happens after the end of the world? Taking up this complex point of departure Russian choreographer Oleg Soulimenko creates a possible post-apocalyptic scenario undertaking a search for the endings after the end. Three male performers appear as explorers of a 'strange' planet.
The time of their visit is an unlikely one. The visitors have reached the planet after a crisis and are now trying to appropriate what is left. Their exploration leads them to the most diverse areas of cultural production, like dance, film, opera, rock music, theatre and text. The references and quotations take on a strong life of their own in constant dialectical tension with the minds and bodies of the performing visitors. They let their findings get under their skin, they allow the human quotations to become part of their system and are consequently found in strange situations oscillating between bitter humour, cynical grotesqueness, self-analytical irony, overdosed entertainment and melancholy.

(German version):
Was geschieht nach dem Ende der Welt? Anknüpfend an diesen komplexen Ausgangspunkt, widmet sich der russische Choreograf Oleg Soulimenko in seiner neuen Performance einem möglichen postapokalyptischen Zustand und begibt sich auf die Suche nach dem ‚Danach‘ des Endes. Drei männliche Performer treten dabei als Entdecker eines fremdartigen Planeten in Erscheinung. Der Zeitpunkt ihres Besuches ist unwahrscheinlich. Sie erreichen den Planeten im Moment nach einer Krise und versuchen sich das zu Eigen zu machen, was übrig geblieben ist. Ihre Entdeckungsreise führt sie in die verschiedensten Bereiche der kulturellen Produktion des 20. Jahrhunderts wie Tanz, Film, Oper, Rockmusik, Theater und Text. Diese Referenzen und Zitate entwickeln ein starkes Eigenleben und stehen in einem ständigen dialektischen Spannungsfeld mit den Körpern und den Gedanken der Besucher. Diese lassen sich ihre Entdeckungen unter die Haut gehen, erlauben den menschlichen Zitaten ein Teil ihres Systems zu werden und finden sich dadurch in seltsamen Situationen wieder, die zwischen bitterem Humor, zynischer Groteske, selbstreflektierender Ironie, überdosierter Unterhaltung und drängender Melancholie schwanken.
–
KONZEPT: Oleg Soulimenko | PERFORMANCE, CHOREOGRAFIE: Thomas Kasebacher, Oleg Soulimenko, Radek Hewelt | BÜHNENBILD: Anke Philipp | THEORIE: Elke Krasny | LICHTDESIGN: Roman Streuselberger | PRODUKTIONSLEITUNG: Annette Pfefferkorn, Susanne Guggenberger | EINE KOPRODUKTION VON Tanzquartier Wien und Vienna Magic | IN KOLLABORATION MIT PACT Zollverein, Essen | MIT UNTERSTÜTZUNG der Stadt Wien und des BMUKK

Links:
www.tqw.at
http://tqw.at/en/program?date=18.11.2010
http://tqw.at/de/programm?date=18.11.2010

A premiere of SÄTTIGUNGSBEILAGE in TanzQuartier Wien

2010-11-12T10:40:00.006+01:00

SÄTTIGUNGSBEILAGE - premiere!
A new piece by Andrea Bold.
TanzQuartier Wien, 12 ans 13 November 2010

Promotion text from TQW programme:

Dance as a threatened species. After deconstruction, hypertextualisation and the paradigm of constantly re-inventing itself, what remains for dance is the physical “constipation” and the sweet and-sour question of why few dance and many watch.
In Andrea Bold’s choreographic attempt moments of devotion and togetherness confront each other in the same way as the will to understand and the cases of arbitrariness of interpretation in view of a pressing mistrust of the kinaesthetic effect. In dialogue with the musically inventive wealth of the Symphonie Imaginaire by Jean-Philippe Rameau, the three musicians draft their movement material based on simplicity and concentration in movement, on the original and the familiar, which permits the reduction to elementary physical parts and outlines the practical utopia of a dance that might be sufficient in itself.
–
DANCE: Radek Hewelt, Satu Herrala, Martin Tomann CONCEPT: Andrea Bold MUSIC: Jean-Philippe Rameau: Une Symphonie imaginaire
–
A COPRODUCTION OF Tanzquartier Wien and TANZVEREIN ERDBERG

German Version

Der Tanz als bedrohte Spezies. Nach Dekonstruktion, Hypertextualisierung und dem Paradigma des Sich-immer-neu-Erfindens bleibt dem Tanz die physische "Verstopfung" und die süß-saure Frage, warum wenige tanzen und viele dabei zusehen.
In Andrea Bolds choreografischem Versuch stehen sich Momente der Hingabe und des Miteinanders ebenso gegenüber wie der Wille zum Verstehen und die Falle der Willkür von Interpretation in Anbetracht eines drängenden Misstrauens gegenüber dem kinästhetischen Effekt. Im Dialog mit dem musikalischen Erfindungsreichtum der Symphonie Imaginaire von Jean-Philippe Rameau entwerfen die drei TänzerInnen ausgehend von der Einfachheit und Konzentriertheit von Bewegung, von Originärem und Bekannten, ihr Bewegungsmaterial, das die Reduktion auf physische Elementarteile erlaubt und die praktische Utopie eines Tanz entwirft, der sich selbst genug sein könnte.
–
TANZ: Radek Hewelt, Satu Herrala, Martin Tomann IDEE: Andrea Bold MUSIK: Jean-Philippe Rameau: Une Symphonie imaginaire
–
EINE KOPRODUKTION VON Tanzquartier Wien und TANZVEREIN ERDBERG

Links:
http://tqw.at/en/program?date=12.11.2010

Czerwona Trawa at XXV Days of Contemporary Art

2010-06-04T18:30:00.005+02:00

Teatr Dada von Bzdulow with Czerwona Trawa/Red Grass at XXV Days of Contemporary Art in Bialystok/Poland

Dada von Bzdülöw Theatre – founded by Leszek Bzdyl – a director and a choreographer, and by Katarzyna Chmielewska – a dancer and a choreographer; on stage since 1993; an independent group of professional dancers and actors, which produces performances in cooperation with Polish and foreign cultural institutions As of today, Dada have produced around 40 performances. Since 2008 the theatre is represented by Dada von Bzdülöw Artists Association with its seat in Gdańsk, Poland.

Dada von Bzdülöw Theatre works at the interface between acting and dance expression. It uses poetics of pure nonsense, the elements of trivial everyday life, high culture clashes with kitsch. It also builds the climate of its performances through handling light and colour.

Red Grass

A story about male-female relationships expressed by means of dance. It would seem that they are very complex; that there are subtle nuances between the sexes which hinder mutual understanding. Meanwhile, the game between lovers is always the same and determined by biologism.

After reading a book by Boris Vian reality is no longer the same. His surrealistic vision is so compelling and opening that one would like to stay there and last, despite the bitterness and unspecified sadness. Be like a Senator dog, who is missing only Łapiti to be completely happy, or as Lil, who has two specially trained beetles to give manicure, or to dance to Duke Ellington’s...

Katarzyna Chmielewska

1 - this is a book of my life (I’ve read it for the first time when I was 22 years old and somehow I identified with the Wolf, which probably influenced my attitude to the world for the next 22 years)
2 - if one loves something too much, one becomes blind and loses the distance
3 - we dance and do not talk, and yet the whole Vian’s charm is in the language, so we should find a similar charm in motion
4 - it results from what was mentioned above that we have to start with Vian and than flee from him and autonomically act in a self-fulfilling performance

Leszek Bzdyl

director: Katarzyna Chmielewska and Leszek Bzdyl
choreography and performance: Katarzyna Chmielewska, Tatiana Kamieniecka, Ula Zerek, Leszek Bzdyl, Radek Hewelt
music: Mikołaj Trzaska
stage design: Maciej Chojnacki
video: Kamila Chomicz / in video sequence: Cezary Rybiński
lights: Michał Kołodziej

production: Wybrzeże Theatre, Gdańsk; Dada von Bzdülöw Theatre
supported by the Government of the City of Gdansk.

Links:

http://www.dsw.bialystok.pl/program.html

Some photos from QUER: Symposium und Labor für Interkreativität

2010-06-04T18:12:00.010+02:00

Between 11-13 March I participated in the interesting installation by numen/for use at Viennese Odeon. This installation was a part of QUER: Symposium und Labor für Interkreativität. Below I enclose some pictures from the event.

Links:
http://quer.departure.at
http://www.foruse.info/
http://radekhewelt.blogspot.com/2010/03/tape-installation-by-numenfor-use-and.html

At corpusweb.net: Radek Hewelt "WITH “HOW?” ON STAGE"

2010-05-25T21:33:00.001+02:00

Lately published at corpusweb.net
http://www.corpusweb.net/radek-hewelt.html

RADEK HEWELT

WITH “HOW?” ON STAGE

In this text I’m going to concentrate on my group works. My solo projects usually have a different character and artistic output. I’d like to begin by announcing that I’m not a visionary. It’s a very rare situation that I see a clear picture of what the work will look like in the end. I have some ideas about the direction, frame, colors, shapes, background, etc., but it’s the process of development in the “laboratory” that makes a final image appear.

FOCUS ON PHYSICALITY AND THE STATE OF THE BODY

Most of my works are characterized by a strong focus on the body. Even if text and vocal expression are present they are always in strong relation with physicality. A body state derives from the theme of a particular work. For instance, in “CLOSE-UP” a dance came out of body response to a topic of intimacy. The physical language was constructed through observation, analysis, embodiment and deconstruction of the human body in a situation of affection. In this context I can’t imagine a process without creating an intimate and trustful situation in the studio that allows people I work with to openly interact, experiment and search. I try to create a specific universe in which the final picture is born out of our dialogs, sensitivities, qualities and capacities.

LANDSCAPE BETWEEN CONCRETENESS AND ABSTRACTION

I start each project with a more or less concrete interest or question. My latest works were circulating around topics like intimacy, public - personal distance, relation between physicality and voice, how to bring the effect of close-up on stage, etc. Those themes lead to the definition of the field that the dancers are going to operate in. It usually takes quite some time to draw the borders and inhabit this particular land. Then out of “living” in this place we create the material that ranges from everyday action to abstract forms. In the process of developing a homogeneous body language of a particular piece sooner or later we are confronted with two questions: how to abstract the narrative forms and how to give a meaning to abstract forms? I try to find the answers through the process of developing a particular stage presence.

STAGE PRESENCE

I’m usually not interested in action as a 100% narrative or abstract momentum but in its execution. For instance if a dancer touches the wall my focus wouldn’t lie on the act of touching as a narrative action or a detached abstract movement but in the way how one does it. Therefore the laboratory work during the creation is so important in my work. It generates the strategies how to “live” the forms and actions on stage. Those strategies derive from concentrating on different systems of stimuli coming from body, senses, emotions, imagination, musicality, interactions with partners, etc. They can be abstract or very concrete. During the performance a dancer is occupied with forms and tasks that are filled out with information coming from the activation of the whole sensing system. The meaning or fill-out of specific actions has to be clear for a performer but not necessarily for the spectator. At the end the audience is confronted with the dancers “living” their choreographies on stage.

ARTISTIC OUTPUT, STRUCTURE AND STAGE DESIGN

The universe that my collaborators and I inhabit for the time of the creation and the theme of the work are reflected by the performers' physical response to it and their specific stage presence which I described above. But also the performance's structuring and stage design play a significant role in the communication with the audience in my works. They create a context for the dance and determine the directions of reading it. For example in “ZOOM IN”, which explored the topic of affection by way of shifting between public and personal distance, the stage was situated in the corner of a rather small room. The squeezed-in public sat close to the dancers and had two more walls just behind their backs. During the piece the performers were consequently approaching the spectators and finally crossed the border between stage and audience. The people watching the performance were recorded by a hidden camera, and at the end they could see themselves reacting to the show on a video projection in the adjacent room. Though the structure and stage design are very important, they do not give any answers, and their main function is to emphasise the “HOW?”

Czerwona Trawa/Red Grass again at Teatr Wybrzeze in Gdansk

2010-03-28T20:52:00.007+02:00

After succeesful performance in Olsztyn last weekend Teatr Dada von Bzdulow will perform Red Grass again at Teatr Wybrzeze in Gdansk on 31th March and 1st April. I have a pleasure to be a part of this performance. We'll perform in a city I come from so it's always an emotional experience for me.

Artistic Direction: Leszek Bzdyl, Katarzyna Chmielewska

Performing: Katarzyna Chmielewska, Tatiana Kamieniecka, Anna Steller (substituting Ula Zerek), Leszek Bzdyl, Radek Hewelt

Music: Mikolaj Trzaska

Scenography & Costumes: Maciej Chojnacki

Video: Kamila Chomicz

Boris Vian, one of the soul fathers of Teatr Dada von Bzdulow, comes back in this project of a group. In its 16-years long history Teatr Dada had already twice created the works inspired by this french writer.

In Czerwona trawa/Red Grass Teatr Dada von Bzdulow meets again a prose of Boris Vian. Multidimensional language of dance theatre is a good starting point for a creative tryout of interpretation of Vian's writings in which he vies with subjects like life, youth, senility, love and death.

More informations about the show in Teatr Wybrzeze:
http://www.teatrwybrzeze.pl/#/spektakle/czerwona-trawa/2010-03-31

Teatr Dada w Olsztynie/Theatre Dada in Olsztyn

2010-03-25T21:53:00.007+01:00

Theatre Dada von Bzdulow will presents its creation "Red Grass" within XVIII Olsztyn's Theatre Meetings on Saturday 27th March. A performance will be shown at the Theatre of Stefan Jaracz.

CZERWONA TRAWA/RED GRASS
inspirowana powiescia/inspired by a novel by Boris Vian

reżyseria/artistic direction: Katarzyna Chmielewska, Leszek Bzdyl
scenografia/scenography: Maciej Chojnacki, muzyka/music: Mikołaj Trzaska, video: Kamila Chomicz /w sekwencji video/in video sequence: Cezary Rybiński/, reżyseria świateł/light design: Michał Kołodziej

choreografia i wykonanie/choreography and performance: Katarzyna Chmielewska, Tatiana Kamieniecka, Anna Steller, Leszek Bzdyl, Radek Hewelt

Fragmenty recenzji z teatralia.com.pl Alicji Olkowskiej/Fragments of the review from teatralia.com.pl by Alicja Olkowska (just in polish)

Katarzyna Chmielewska: Po przeczytaniu jakiejkolwiek książki Borisa Viana, rzeczywistość nie jest już taka sama. Jego surrealistyczna wizja jest tak pociągająca i otwierająca, że chciałoby się w niej przebywać i trwać, pomimo goryczy i bliżej nieokreślonego smutku.
— Najnowsze taneczne dziecko Teatru opowiada o relacjach damsko - męskich. Wydawać by się mogło, że są one mocno skomplikowane, że trudno zrozumieć kobiety i mężczyzn, że między płciami zachodzą subtelne niuanse, które utrudniają zrozumienie zaangażowanych stron. Okazuje się, że relacje te są niezwykle proste, a wręcz łatwo przewidywalne, gyż gra między kochankami jest zawsze taka sama zdeterminowana przez biologizm.
Zaczyna się niewinnie. Ot, zwykła dyskoteka /.../. Na podświet-lonym parkiecie prowadzą taneczny flirt dwie pary. Tańczą, uśmiechają się do siebie, patrzą na siebie tak, że wiadomo do czego każdy ich krok zmierza. Udało się! Mężczyźni rzucili urokliwą przynętę, a kobiety ją połknęły wraz z lubieżnie konsumowanymi w międzyczasie czereśniami /.../. Między parami ogarniętymi miłosną chemią, porusza się jeszcze jedna osoba - młoda dziewczyna, obrośnięty meszkiem podlotek. Jej ruch jest chaotyczny, koślawy, śmieszny. Nie pasuje do towarzystwa wzajemnej adoracji /.../. Między graczami zaiskrzyło /.../. Zaczyna się walka /.../.

Spektakl poruszył publiczność swoją żywiołowością, lekkim podejściem do spraw przykrych i oczywistych. Chwilami rozśmieszał, bo parodiował nas samych, czasem smucił, bo pokazywał jacy jesteśmy i w jaki sposób nasze pragnienia pękają jak bańki mydlane /.../.

Links:
web page of Theatre of Jaracz in Olsztyn: http://www.teatr.olsztyn.pl/index.php?action=news&id=209
a whole review: http://teatralia.com.pl/artykuly/sierpien_2009/050809_gcze.php

Helmut Ploebst in derStandard about Empathy Project vol 1

2010-03-18T23:02:00.006+01:00

A review from the derStandard by Helmut Ploebst after our Empathy Project vol. 1 at imagetanz in brut/Vienna. For full text follow the link: http://derstandard.at/1268700946217/Imagetanz-Tanz-als-Einfuehlungsdroge
A text is in german.

Imagetanz

Tanz als Einfühlungsdroge

18. März 2010, 17:31

Die Choreografinnen Magdalena Chowaniec und Martina Ruhsam

Wien - Der Mund steht ihnen offen, als hätten sie den Leibhaftigen gesehen und dabei eine Maulsperre bekommen. Die drei Tänzer des "Empathy Project Vol. I" der jungen Choreografin Magdalena Chowaniec, das bei Imagetanz im Brut-Theater uraufgeführt wurde, sind Süchtige.

Besser gesagt: Diese Tänzer versetzen sich mit unheimlicher Konsequenz in die beschädigten Körper von Drogenabhängigen. Sie dröhnen sich nicht selbst zu, sondern bereiten ihre Aufführungen stundenlang vor. Durch Einfühlung, als Ergebnis einer langen künstlerischen Recherche. Seit 2008 beschäftigt sich Chowaniec mit den Wirkungen von Empathie im Tanz, deren politischen Aspekt die aus Polen stammende Künstlerin besonders unterstreicht.

Das Ergebnis ist kein Sozialrührstück, sondern eine choreografische Installation von beinahe Beckett'schen Ausmaßen. Die drei Figuren torkeln auf dem Tanzboden, versuchen in ihrem Weggetretensein so etwas wie ein Bühnenbild aufzubauen. Da sie kaum noch fähig sind, sich auf den Beinen zu halten oder einfachste Handlungen auszuführen, geraten sie in einen Teufelskreis vergeblicher Bemühungen.

Chowaniec, die mit Gabri M. Einsiedl und einem umwerfenden Radek Hewelt auch selbst auftrat, verunsicherte die sozial sensible Imagetanz-Zuschauerschaft durch ihre Gratwanderung zwischen künstlerischer Illusion und dokumentarischem Realismus. Geradezu perfekt wäre das "Empathy Project Vol. I" auch für ein junges Publikum - durch das Fehlen aller Belehrungsattitüde, durch Ironie trotz Drastik der Darstellung.

[...]

Diesem Erfolg schadet es natürlich keinesfalls, dass das Brut zurzeit gerade das "hottest theatre in town" ist und dass die Kuratorin des Festivals - Bettina Kogler - auch auf die einladenden Gesten künstlerischer Partyformate gesetzt hat.

(Helmut Ploebst, DER STANDARD/Printausgabe, 19.03.2010)

Tape installation by numen/for use and Nikolaus Suchentrunk

2010-03-14T10:58:00.009+01:00

Last days I had a pleasure to participate in the installation by numen/for use (designer) and Nikolaus Suchentrunk (fine artist). This art project was a part of: Quer. Symposium und Labor für Interkreativität. Installation consisted of hanging tunels made out of transparent tapes that where extended and attached to monumental pillars at Odeon Theater in Vienna. It all looked like a huge spider web. Together with Valerie Oberleithner, Laia Fabre and Kerstin Olivia Schellander we've prepared a choreography designed specially for this space. I hope I will have the pictures so I can publish them.

numen/for use made already similar installation before. Some pictures are available at their web-site:
http://www.foruse.info/index_in.htm
under projects (tape installation/vienna 09)

QUER: Symposium und Labor für Interkreativität

QUER wird veranstaltet von departure - Eine Initiative der Stadt Wien. Ein Unternehmen des Wiener Wirtschaftsförderungsfonds.

QUER: Symposium und Labor für Interkreativität
Odeon, 1020 Wien, Taborstraße 10
11. bis 13. März 2010

Wir brauchen kreative Neugier, Offenheit und Verantwortung statt Altgier, Routine und Egoismus. Wenn die Künste von ihrem Publikum Offenheit und Out-of-the-box-Denken verlangen, müssen sie sich auch selbst an diesem Anspruch messen (lassen). Eine genauere Betrachtung zeigt jedoch, dass Schubladendenken durchaus verbreitet ist, man in der jeweiligen Sparte gerne unter sich ist und neuartige Begegnungen mit anderen Kreativsparten die Ausnahme sind.

Die Künste leben aber von Vielfalt, Gegensatz und Reibung. Sie brauchen mutige, unwägbare Begegnungen zwischen KünstlerInnen/Kreativen auf gleicher Augenhöhe. Interkreativität eröffnet neue Sichtweisen, Spannungsbögen und Erkenntnisse und ermöglicht sogar neuartige Kunstformen und unkonventionelle Annäherungen an das Thema Gesamtkunstwerk im digitalen Zeitalter. Zugleich kann Interkreativität als Vermittlungstool dienen, das durch frische, innovative, leicht verständliche Zugänge Schwellenangst vor kulturellen Leistungen abbaut.

Was ist Interkreativität?

Spartenübergreifende Ansätze, im Besonderen Projekte, zu denen sich zwei oder mehrere Kreative aus verschiedenen Kreativbereichen zusammenfinden.

QUER will erhöhte Aufmerksamkeit auf das kreative/künstlerische Potenzial von Interkreativität lenken und durch sorgfältige Analyse der Dimensionen und Risiken von Interkreativität die Voraussetzungen für das Gelingen solcher Projekte herausarbeiten. Ziel ist es, durch Herstellung von Querverbindungen und Multiplikatoreffekten in Wirtschaft und Gesellschaft zusätzliche Nachfrage nach Kreativleistungen zu schaffen und die Wiener Kreativwirtschaft zu stärken.

Warum departure?

Als Einrichtung der Stadt Wien für die Kreativwirtschaft konnte departure seit 2003 eine Vielzahl spannender Projekte in den Bereichen Design, Mode, Musik, Multimedia, Architektur, Audiovision, Kunst, Literatur und anderen Sparten der Creative Industries fördern, interdisziplinären Kooperationen wird ein besonderer Stellenwert eingeräumt. Unter dem Begriff Interkreativität setzt departure nun neue Impulse für eine stärkere Verbindung von kreativen Leistungen aus verschiedenen Sparten und organisiert zu diesem Zweck QUER: Symposium und Labor für Interkreativität – ein Forum für Vorträge, Analysen und Diskussionen und zugleich Kreativlabor für die Visualisierung literarischer Texte.

Warum Wien?

Wien verfügt über ein dynamisches kulturelles Angebot, qualitätsbewusste Kreativszenen, erstklassige Institutionen und eine große kulturelle Vergangenheit, nicht zuletzt in der Zeit um 1900 mit bahnbrechenden Vorstößen in Richtung Gesamtkunstwerk und verstärkter Zusammenarbeit zwischen den Künsten. Wien ist daher für Interkreativität prädestiniert.

Links:

http://quer.departure.at

http://www.foruse.info/

Interview about Cooperativa Performativa in Corpus

2010-03-01T23:49:00.005+01:00

Valerie Oberleithner made an interview with me about Cooperativa Performativa (with whom I worked in December'10) on the internet magazine Corpus dedicated to the art of dance and performance. It's a part of her and Agnieszka Ryszkiewicz's project at their residency in Corpus. Project is called "Map it!". More about this project under:
http://www.corpusweb.net/index.php?option=com_content&task=view&id=1538&Itemid=33

Below I publish a part of the interview. The whole interview you can view under:
http://www.corpusweb.net/index.php?option=com_content&task=view&id=1538&Itemid=33&limit=1&limitstart=2

Radek Hewelt about Cooperativa Performativa

Where do they meet?

Valerie Oberleithner asked me to talk about Cooperativa Performativa. (laughs) Cooperativa Performativa is a group based in Romania. It consists of five artists from the performance and dance fields. The artists are from Bucuresti.They work in a kind of dance centre. I think it is even called dance house. They have a studio. It does not belong only to them. It belongs to the community. Cooperativa Performativa is one of the founders of this dance centre. Therefore they have the privilege to use the studio.

The internet as a virtual space is not an issue. One of their goals is to share one space, one physical space.

Who is the leader, and does everyone share his/her vision?

There is no leader! This is maybe the most important point about their working strategies. They are “the anarchists”. They do not like leaders. Furthermore they work independently from each other. This means that Cooperativa consists of five artists who work on five different projects. Also economical reasons made them work in this way: “Why do we not work on these five projects by sharing one studio? Why do we not just use each other for our own purposes?” They formulated rules how this way of cooperation could function. One rule: there is no leader, you are independent, you can always say no. You do not even have to come for the rehearsals. It is basically free and totally independent. Cooperativa Performativa is not about working for a group. It is rather using the sources a group or a collective offers. They are “the anarchists”. They do not have the goal to create something together. Everyone works on his own project, for a specific time, in a specific place.

Cooperativa Performativa reflects on its own working strategies. Sure a lot of conflicts appear. For example some would like to work with very loud music and some would like to work with silence. The task is to find solutions without leadership. What drives them to be in a studio is working on their own projects. Money reasons, too, made them decide to work in this way. Five artists using one studio at the same time is very economical. Beyond this they work with this situation. They know each other pretty well. They are old friends, colleagues.

...

More on Corpus

Links:
Official web-site of Cooperativa Performativa:
http://cooperativaperformativa.blogspot.com/
Corpus magazine:
http://www.corpusweb.net/

Teaching at TanzQuartier

2010-03-01T23:31:00.002+01:00

All level training: Radek Hewelt

06 – 27 March
Each Saturday 17.00 – 18.30

Place your skin, muscles, bones, liquids, desires, sensations, emotions, ideas, concepts, thoughts, fantasies on a very small fire. You can experiment with quantities of ingredients. Meanwhile softly "oil" your joints. Allow a body to melt gently. When it gets warmer observe it spreading up and getting a volume. It needs time. When the whole mass reaches a good colour, don’t worry if it grows. Season it with your favourite herbs but don’t be afraid to try also the new ones. Don’t rush. When it’s getting hot and ready let the kinetic hunger take it over. Smell it, smile and let your test buds enjoy the dish. In case you’re not fully satisfied, analyze and eventually change something next time.

Radek Hewelt (PL/A) is a choreographer, dancer and performer. He was born in Poland. After accomplishing his social studies he continued his education joining a dance school of Anne Teresa De Keersmaeker’s P.A.R.T.S in Brussels. Since 2003 he is based in Vienna. In his teaching he focuses on release technique principles. He also likes to cook.

Link: http://tqw.at/en/trainings?date=6.03.2010&e=519

Soft Cowboy at his end...

2010-02-26T11:10:00.005+01:00

Ladies and Gentelmen... my life as an art object is coming today to an end! 81 days ago I signed the contract with myself and today at midnight my body comes back officially to its owner - the real person whose legal existance is confirmed by Birth Certificat. If you are in Vienna you're very welcome to join the last night of Soft Cowboy and Things.

More details about the show:
http://www.brut-wien.at/start.php?navid=detail&id=381
http://radekhewelt.blogspot.com/2010/02/things-in-vienna.html
http://radekhewelt.blogspot.com/2010/02/radek-hewelts-soft-cowboy-in-things.html

My rental contract:

RENT-TO-OWN CONTRACT

I. PARTIES:
This contract is entered into on 8th December 2009, by and between RADEK HEWELT as the Owner of the property rented and RADEK as the Renter.
The Owner hereby agrees to rent-to-own the real property described as A BODY.
This rental shall be for a term of 81 days, beginning 8th December 2009 and anding 26th February 2010.

II. DEFINITION OF THE PARTIES:
THE OWNER in this contract is a real person whose legal existance is confirmed by Birth Certificate.
THE RENTER is a physical and artistic image generated for a purpose of an artistic creation.

III. OBJECT OF THE RENTAL:
THE OBJECT of this rental – A BODY – is understood as a real physical body as well as widely assumed identity and personality constituting and belonging to the owner.

IV. RENTAL AGREEMENT:
In the period of contract duration the owner disdains his rights to own his property described as his body and identity. The renter has unlimited rights to despose rented object in any way necessery to fulfil the aims deriving from artistic creation. It might include also modification, transformation, rejection and destruction of an object of the rental.

Radek Hewelt's 'Soft Cowboy' in 'THINGS'

2010-02-20T08:56:00.006+01:00

Dear friends,
I was asked by Anat Steinberg to contribute in curated by her exhibition of performances in big second hand shopping paradise Carla mittersteig in Vienna.
For this occasion I've prepared a performances called 'Soft Cowboy'. I'd feel honoured and excited to see you there!
The premiere is on Wednesday 24th February. Details below.

Soft Cowboy / Radek Hewelt

At this point in his life, Radek Hewelt has very little material property and even less personal attachments towards it. As a danced his most important possession is his body. Especially for this event, Radek Hewelt decided to rent his body + soul for artistic purposes. He signed a legal rental contract, and for a period of 81 days he abandoned the ownership of his property (the body + soul mentioned above). He gave the renter (the artistic purpose) the full rights to dispose of the ‘body + soul’ in any way necessary, including its modification (to create a new image), destruction of ‘real self’ and experimenting with exterior guidelines for interiors. In the performance (i.e. the artistic purpose) he will present his new creation.

‘THINGS’

24,25,26 February at 19:00
performances take place at Carla mittersteig,
Mittersteig 10, 1050 Vienna

‘THINGS’ is an exhibition for performances. It reflects upon the relationship between constructing identity and owning property; who we think we are in relation to the things we have.. or should probably get some day.. the people we should be.. the possibilities .. we should have had .. by now..

The artists Otobong Nkanga, Hans Bryssinck and Radek Hewelt are invited to respond with new performance works; from Egyptian mummies (buried with their valuables) through obsessive restitution wars to brand fetishes or the economical / emotional process of buying a house.. The artists will explore the emotional link connecting property owned and/or desired, and identity presentation.

To accentuate the economical aspect of the theme, ‘THINGS’ is happening in a second-hand furniture shop (Carla mittersteig, Mittersteig 10, Wien), which will be open for shopping during the show.

Curated and orchestrated by Anat Stainberg. With contributions from the artists: Hans Bryssinck, Performance. Yasmina Haddad, styling. Radek Hewelt, Performance. Erwin Jans, dramaturgy. Jan Maertens, light. Otobong Nkanga, Performance. Martin Siewert, music. and Ina Ivanceanu, production.

‘THINGS’ is a co-production of Anat Stainberg / ‘Mediated Meetings’ and brut Wien, and is kindly supported by stadt Wien Kultur and the BMU:KK Austria.

THINGS in Vienna

2010-02-20T08:21:00.008+01:00

Curated and orchestrated by Anat Steinberg.

With contributions from the artists:

Hans Bryssinck, Performance
Yasmina Haddad, styling
Radek Hewelt, Performance
Erwin Jans, dramaturgy
Jan Maertens, light
Otobong Nkanga, Performance
Martin Siewert, music

‘THINGS’ is a site specific performance. It reflects upon the relationship between identity construction and property. Focusing on the gap between ‘wanting’ and ‘getting’; who we think we are in relation to the things we have.. or should probably get some day.. the people we should be.. the possibilities .. we should have had by now..

'THINGS' is happening in the Carla mittersteig, a second-hand furniture warehouse in Vienna. The Carla Mittersteig is mainly (according to the people who run it) a social project for employment (by Caretas). But it is chosen for the performance because of its arbitrary and sustained collection of ‘things with history and possible future’, reviving many forgotten stories. Site-specific performances are created in relation to a specific location and exist only there. This specific medium offers the viewers ‘pre knowledge’ to start with, which adds layers of information to the reading of the performance. And since a site (in this case a second hand public shop) is real and has a daily function, the performance gets to play in the range between reality and fiction in a fascinating way. To accentuate the economical aspect of the theme the shop will be open for shopping during the show.

Jeremy Bentham (1748–1832) an English philosopher and legal theorist developed legislation theory dealing with owned property in the early ninteenth century. He was the first to address property’s important emotional components in his theories, revealing that property represented not only the object or item possessed, but indicated a more intangible relationship between the owner and what was owned.
‘Property is nothing but a basis of expectation; the expectation of deriving certain advantages from a thing which we are said to possess [. . .]. It is not material, it is metaphysical; it is a mere conception of the mind.’

To continue this thought it is interesting to look at the way people (in western cultures) develop relationship with the things they have; the how people belong to their property, how property defines people, puts them in a specific social status, how people live in the promise of the things they potentially should get some day .. Further more Bentham reminds, that it is law alone that enables property to exist, and that from this law people draw a certain expectation also towards future profit or an anticipated inheritance.
The time it takes until the promise has been realized is a very fruitful one for the creation of fantasies, because all you can do is plan, construct an identity.

THINGS, is a research into the way our imaginary and real potentialities code the way of our reality construction. The way fantasy is processed in a brain and re-arranged to an identity with reference to our physical, social and cultural surroundings. The performance will explore the function of property in sparking both individual and collective strategies, and propose ways for these stored ideas to be ‘back-projected’ to the space that hosts them - a second-hand furniture warehouse.

Three artists are invited to participate in this performance; each is coming from different culture and artistic background. All were personally and artistically challenged by the suggestion to explore the link between property and identity; they are asked to look at the ways in which matter influences spirit and contribute their own input, their own ‘take’ on things.

The artists will be provided with research material collected by Anat Stainberg from which they could choose what to focus on. From Egyptian mummies (buried with their valuables) through obsessive restitution wars to brand fetish or the economical / emotional process of buying a house. The artists are asked to create scenes in varies media considering the aspect of their choice.

‘THINGS’ is a co-produced by brut Wien and is kindly supported by stadt Wien Kultur and the BMU:KK Austria.

"Empathy project, vol 1" in Pinkafeld

2009-12-21T22:48:00.007+01:00

Empathy project. Vol 1. on the way! The premiere will take place during imagetanz festival in brut in March 2010. We have made a research between drug-addicts on Karlsplatz and now a residency in Pinkafeld/Burgenland...
Project is initiated and led by Magdalena Chowaniec.

Few words about the project:

‘I look for a role that hopefully I feel empathy with and that I can understand and love, but also that has that challenge for me to play - a different kind of role, a different type of character, a different time period.’
Kathy Bates

‘Bodies of drug addicts on Karlsplatz became to me highly inspirational in all their ambivalent existence. The way they inspired me, and the admiration I started to share for their incredible bodily capabilities, occurred very paradoxal - in all its misery becoming almost poetic to my eyes.’
Magdalena Chowaniec

Empathy Project puts the phenomena of empathy in the center of interest and questions the importance of empathy our days, it looks for the possibilities of bridging the social and artistic, abstract on a ‘new’ empathic level. In ‘Vol. I’ reflections upon the outsiders lead to the questions about what's allowed, acceptable and what inappropriate in the society of theatre trying to turn excluded into exclusive. ‘Vol. I’ examines the methods, possibilities and effects of empathizing with the excluded ones through the process based at first on a search for a common empathy in a group. Three human beings turn into a ‘human tabula rasa’. Crossing the border between life and theatre, they rush through the world and melt with different surroundings becoming a part of various landscapes. They look for a ‘homeless esthetics’ in art, taking another point of view onto life – practicing homelessness, performing junkies, researching physicality of the rejected ones.

Participants:
Concept: Magdalena Chowaniec (PL/A)
Research/Creation/Performance: Gabri Einsiedl (A), Magdalena Chowaniec (PL/A), Radek Hewelt (PL/A)
Technical help/Sound: Vladi Tchapanov (BLG/A)

Links:
www.mariamagdalena.cc
www.myspace.com/rockthemob
www.madamlena.blogspot.com

Cooperativa Performativa in TanzQuartier

2009-12-16T03:57:00.015+01:00

no territorialization no hierarchy no competition no property or: open source practices for diminish the ego

With: Maria Baroncea (RO), Magdalena Chowaniec (A), Adriana Cubides (A), Florin Flueras (RO), Fanni Futterknecht (A), Eduard Gabia (RO), Claire Granier (A), Radek Hewelt (A), Thomas Kasebacher (A), Alexandra Pirici (RO) and Iuliana Stoianescu (RO).

Cooperative Performativa is a collective that brings together the Romanian artists Maria Baroncea, Florin Flueras, Eduard Gabia, Alexandra Pirici and Iuliana Stoianescu. Starting from the basic idea of open source, they investigate the (power) relationship of art insti-tutions and artists, claims to ownership and copyright interests in one’s own work, the necessity of guidance and direction in a group as well as the product-oriented forms of collaboration, which are based on agreement, negotiation and compromises. The emphasis of their project is the process itself, which – on a largely grassroots democratic basis – creates heterotopias, differences and commonalities in one’s own as well as others’ artistic creation, connected with the attempt not to judge them but precisely to highlight their diversity.

During a one-week encounter with a group of artists working in Vienna, the discursive strategies developed by Cooperativa Performativa will be challenged and tested.

The results of this open working process will be presented on 16 December and are at the same time the curtain-raiser and framework for the discussion of the restructured residency programme that the Tanzquartier Wien together with KulturKontakt Austria and other partners will be continuing in the 2009/10 season.

Links:
http://cooperativaperformativa.blogspot.com/

Alles Gute. Ein Umgang 2009 - All the best. An advent tour 2009

2009-12-04T00:36:00.011+01:00

I'm preparing a small showing for this year's "Alles Gute. Ein Umgang 2009 - All the best. An advent tour 2009"
If you want to have a nice evening tour through viennese 7th district's picturesque streets and cultural institution with different artistic ecounters feel very welcome. The organizers have a pleasure to offer you few short artistic programs from the fields of Literature, Music, Dance and Theatre plus to have a nice walk with opportunities to treat yourself with delicious Glühwein (hot spiced wine served specially in the period before and around Christmas).
The advent tour will start at 5 pm at Hauptbücherei am Gürtel (Main Library on Gürtel). Other locations are: Theater Spielraum, Jewish Theater of Austria, Literaturhaus, Medienwerkstatt Wien, Sieben*stern, Fleischerei/Projekt Theater Studio, mica - music austria, Architekturzentrum Wien and TanzQuartier.

I'll present a perforamance created specially for this occasion called: Tonight it’s just a tune. It will close the whole evening programme and it's scheduled at 9:30 pm at TanzQuartier.

Below I enclosed a short information in german. Detailed programme of the whole evening is displayed on the web-site of mica (music information center austria):
http://www.mica.at/mica_aktuell/detail_13488.html

Information in german:

"Alles Gute. Ein Umgang 2009"

Wie schon in den letzten Jahren findet auch heuer am 14. Dezember 2009 der bereits zur Tradition gewordene Adventrundgang „Alles Gute – Ein Umgang“ durch die Gassen des siebenten Bezirks statt. In diversen Kurzprogrammen aus Literatur, Musik, Tanz, Theater rund um den Advent soll das Publikum in einer gemütlichen Weise, auf die besinnliche Zeit eingestimmt werden.

Links:
http://www.mica.at

TONIGHTS TUNE trailer!!!

2009-12-01T22:10:00.011+01:00

Dear guests,

I strongly encourage you to watch a trailer of my last piece TONIGHTS TUNE that I have just finished to edit.
TONIGHTS TUNE had its premiere on June 2nd 2009 at WUK in Vienna.
Video-recording was made during our 3rd performance at WUK on June 4th.

TONIGHTS TUNE

Artistic direction: Radek Hewelt

Choreogarphy and performance: Gabri M. Einsiedl, Dominik Grünbühel, Radek Hewelt, Linda Samaraweerova

Light design: Nicole Kropiunik

Special thanks to: Johannes Maile (WUK)

TONIGHTS TUNE could be developed thanks to the kind support of Culture Department of the City of Vienna (Kulturabteilung der Stadt Wien - MA7) and WUK

TONIGHTS TUNE is a score composed for 4 instruments. The performers are the musicians and the instruments at the same time. They act on according to the score. It's a concert. They play using their bodies and voices.
It's about singing physicalities and dancing voices. It's about physicality and voice tuning in with each other.

But it's also about pitch of movement,
... a rhythm of the thought,
... a timbre of emotion,
... a loudness of imagination,
... a melody of attention,
... a polyphony of different levels of perception,
... the musicality of the presence.

All in all it's about tuning... again and again.
And it's about particular tune of tonight.

Original video was made by Werner Sohajek / kulturvision
(www.kulturvision.at)

You can view TONIGHTS TUNE trailer also on YouTube under:
http://www.youtube.com/watch?v=TGrgPezj1iI

Pathos Alarm in Outer Space teaser

2009-11-28T19:45:00.009+01:00

I'm proud to present a teaser of PATHOSBÜRO 2007 release "Pathos Alarm in Outer Space #0". It's a pilot of the Science Fiction trash video opera.
A movie was shot in Vienna during the hot summer days in the garden of one of my PATHOSBÜRO colleagues - Katherina. This teaser was released first on YouTube by mysterious LanaErosh. You can see it in better quality under:
http://www.youtube.com/watch?v=E_OffBSgCdc

PATHOSBÜRO is an artistic collective founded in 2007 in Vienna by Daniel Aschwanden and Katherina Zakravsky.

Credits:
Performers: Daniel Aschwanden, Radek Hewelt and Katherina Zakravsky
Guest performers: Sabile Rasiti, Stephanie Cumming, Katharina Meves, Anna Maria Nowak
Camera: Daniel Aschwanden, Radek Hewelt, Jack Hauser
Postproduction: Andreas Braito, Daniel Aschwanden

"ICH STERBE. I'M DYING. Я умираю" by Toxic Dreams at brut/Vienna

2009-11-27T12:28:00.005+01:00

brut presents now (25-29.11.2009) a new piece by Toxic Dreams: "ICH STERBE. I'M DYING. Я умираю". I have had a pleasure to participate in this production performing in a film (a part of the whole evening show) a role of russian student Lev Rabenek who was witnessing a death of Chekhov.

From a web-site of Toxic Dreams:

For the last installment of the Realism or Uncle Vanya we take a detour; instead of another deconstruction of the play, we tell a different story, the story of Chekhov's death. The famous writer died in 1904; since then the facts, concerning his death, are told, and told, in a way that will make him turn in his grave.

How did Chekhov die? Why can't we get a realistic description of what really happened in his death bed, in a hotel room in Germany? How come, a writer that so insisted on describing life the way it is, cannot get a proper description of his death the way it was?

The story of Chekhov's death is a Rashomon worthy of Kurosawa. The story of his death and the way it was viewed, the subjectivity of the observer, serves as ironic contra point to the so called objectivity of Chekhov's writing. What is real in the realism of Chekhov's death, and how speech can describe it is the center of the performance.

(http://www.toxicdreams.at/)

Filmcast Cezary Tomaszewski (Anton P. Tschechow), Irene Coticchio (Olga Knipper), Anna Mendelssohn (Autorin), Otmar Wagner (Doktor Schwöhrer), Radek Hewelt (Leo Rabeneck), Justin Poole (Portier)
Voiceovers Evgeniia Lianskaya, Lena Kvadrat, Wolfgang Weitlaner, Oleg Soulimenko, Justin Poole, Samuel Machto, Olivier Brasselet
Live Cast Cezary Tomaszewski (Anton P. Tschechow), Anna Mendelssohn (Autorin)
Hausbau und Kameras Yosi Wanunu, Otmar Wagner, Claribel Koss und Michael Strohmann
Komposition, Film- und Live Editing Michael Strohmann
Haus Otmar Wagner
Regieassistenz Claribel Koss
Text und Regie Yosi Wanunu
Produktion Kornelia Kilga

Links:
http://www.brut-wien.at/start.php?navid=detail&id=329
http://www.toxicdreams.at/
http://ongoing.nightmares.toxicdreams.at/wordpress/ich-sterbe/

Joanny Szymajdy "TENDENCJE ESTETYCZNE WE WSPÓŁCZESNYM TAŃCU FRANCUSKIM PO 1990 ROKU"

2009-11-17T16:39:00.009+01:00

Again in polish. I'm sorry. I'm recommending here a work by Joanna Szymajda that could be translated: The Aesthetic Tendencies in French Contemporary Dance after 1990.
It's written in polish.

Zachecam do zapoznania sie z praca Joanny Szymajdy:
"TENDENCJE ESTETYCZNE WE WSPÓŁCZESNYM TAŃCU FRANCUSKIM PO 1990 ROKU".
Cala praca zostala upubliczniona na stronie nowytaniec.pl:
http://www.nowytaniec.pl/czytelnia/Szymajda_Tendencje_estetyczne.pdf

Z wprowadzenia:

"Niniejsza praca powstała jako wynik mojej fascynacji tańcem połączonej z doświadczeniem,
jakie dane mi było zdobyć na stypendium w Uniwersytecie Lumière w Lyonie. To doświadczenie
obejmuje zarówno studia nad tańcem współczesnym, jak i uczestnictwo w Biennale de la Danse
2004 oraz recepcję kilkudziesięciu choreografii prezentowanych w Lyonie i innych miastach
Francji podczas mojego półtorarocznego pobytu w tym kraju. Ogromną rolę w zdobywaniu
materiałów odegrały również biblioteki : miejska i uniwersytecka w Lyon II,
ale przede wszystkim bogata videoteka Maison de la Danse w Lyonie -
jednej z najważniejszych instytucji we Francji promujących taniec współczesny.

[...]

Ponieważ w języku polskim nie przeprowadzono zbyt wielu badań nad estetyką tańca współczesnego
wydało mi się konieczne wprowadzenie kontekstu historycznego, gdyż bez znajomości
ewolucji tej formy tańca trudno jest zrozumieć jej obecną, nieco hybrydalną postać.
Tak więc w pierwszej części pracy obok twórców francuskich pojawią się choreografowie
amerykańscy, niemieccy i innych narodowości, którzy odegrali przełomową rolę w kształtowaniu
się form modernistycznych, postmodernistycznych i współczesnych tańca.

[...]

Drugi i trzeci rozdział poświęcone są nurtom estetycznym najnowszego tańca francuskiego od
lat dziewięćdziesiątych dwudziestego wieku, z naciskiem położonym na różnice między
pokoleniem choreografów debiutujących w latach siedemdziesiątych i najmłodszymi
przedstawicielami tej sztuki, którzy właśnie w latach dziewięćdziesiątych rozpoczynali swoje
kariery.

W rezultacie powyższy tekst ma więc charakter analityczno-syntetyczny. Wychodząc od analizy
poszczególnych spektakli tańca, starałam się bowiem wyodrębnić wspólne idee i sposoby
pojmowania istoty tańca, które prowadzą do tej niezwykłej różnorodności, jaka charakteryzuje
współczesne choreografie, różnorodności, która jest jednak pewną syntezą - jedyną możliwą w
obliczu problemu : co to jest taniec współczesny?
To prowokacyjne w swej istocie pytanie stawiają sobie artyści od początku dwudziestego wieku
a ich zróżnicowane odpowiedzi kształtują niedefiniowalną jednoznacznie naturę tańca współczesnego."

Joanna Szymajda (Polska, 1979)
Przygotowuje pracę doktorską o tendencjach estetycznych współczesnej choreografii
europejskiej na Uniwersytecie Łódzkim i Uniwersytecie Paryż III Sorbonne Nouvelle.
Ukończyła studia psychologiczne i kulturoznawcze na Uniwersytecie Łódzkim, obroniła
pracę magisterską z psychologii międzykulturowej i teatru na Uniwersytecie Lumiere
Lyon II. Publikuje teksty krytyczne i naukowe z estetyki tańca, pracuje jako moderator,
dramaturg, kurator tańca.

Joanna Szymajda (Poland, 1979)
Currently, she is preparing her PhD thesis on contemporary dance aesthetics at the
University of Łódź (Poland) and University of Paris III Sorbonne Nouvelle (France). She has
graduated from Psychology Department and Cultural Studies Department at the University
of Łódź and Intercultural-Psychology and Theatre at the University of Lyon II (France).
She is regularly publishing her theoretical and critical texts on dance. She works as
a lecturer at the University of Łódź and also as a freelance moderator, dramatist and
dance curator.

links:
http://www.nowytaniec.pl
http://www.nowytaniec.pl/czytelnia/Szymajda_Tendencje_estetyczne.pdf

Echos after Teatr Dada von Bzdulow's "Czerwona Trawa"/"Red Grass" tour

2009-11-17T10:40:00.009+01:00

Below I publish some reviews from "Czerwona Trawa"/"Red Grass" that came during and after our tour. Unfortunately all reviews are in polish. I publish them how they are. I'll translate some of them so there should be english texts available soon.

Fragment recenzji Beaty Kalinowskiej (internetowy magazyn teatralny Teatralia) z 12.11.2009:

"Teatr Dada von Bzdülöw to mistrz w swojej kategorii. Taniec współczesny, aktorstwo, niecodzienna muzyka, swoista scenografia i emocje krążące nad tym wszystkim jak namolne owady tworzą rozpoznawalną, porządną markę. Tym razem artyści, zainspirowani francuskim pisarzem Borisem Vianem, próbują przenieść literackie gry słowne na niemą scenę. Tak. Absurdalny pomysł, ale czy takie nie intrygują najbardziej?

Mikołaja Trzaskę trzeba kochać i trzeba o tym mówić od razu. Muzyka, którą skomponował do "Czerwonej trawy" mogłaby bezkolizyjnie i nieprzerwanie trwać w odtwarzaczach. Dźwięki przenoszą nas do mieszkań naszych babć i sadzają przed pachnącymi pudrem toaletkami. Są figlarne i filuterne, arcydelikatne i przyjemne. Zostają w uszach na długo po zapadnięciu kurtyny. Trzeba za to Trzaskę kochać.

Tańczące na podświetlonej, mozaikowej podłodze postaci ociekają wolnością i erotyzmem. Mają świadomość swojej cielesności i uroku. Pięknie reżyserują gesty i wedle upodobań dodają do nich uśmiechy. Nie wypowiadają żadnych słów, unikają dosłownych sytuacji, pędzą w kierunku francuskiego surrealizmu. Czasami może tylko za szybko pędzą, albo za wolno dla odmiany. Nie martwią się niespójnością niektórych scen, nie przejmują wlepionymi w nich oczami widzów (przed tym chroni ten, wspomniany wcześniej, metaforyczny namiot - na to przynajmniej wygląda). Grają, w dużej mierzej, dla swojej przyjemności. I ta przyjemność przechodzi częściowo na publiczność."

Calosc artykulu pod adresem:
http://www.teatralia.com.pl/artykuly/listopad_2009/121109_kfwi.php

Fragment recenzji Kaśki Piwońskiej:

"Chociaż „Czerwona trawa” powstała z inspiracji książką Viana, to dalece wymyka się pojęciu inscenizacji znanemu z teatru dramatycznego. Utwór został całkowicie przystosowany do środków wyrazu, jakimi dysponuje taniec. [...] To subiektywny wybór sytuacji, które zdaniem artystów najlepiej oddają istotę Vianowskiej narracji. Według mnie jak najbardziej trafiony. [...]

Tym, co przenika relacje między wszystkimi niemal postaciami, jest erotyka. W jej krąg tancerze włączają nawet reprezentantkę publiczności, która staje się na moment obiektem adoracji dwóch bohaterów (Leszek Bzdyl, Radek Hewelt). Sfera intymności wkracza do spektaklu zrazu tylko lekko zaznaczona niby-przypadkowym splotem ciał, to znów jawna i zamierzona w pocałunkach. Dotyczy zarówno łatwo zmiennych układów damsko-męskich, jak i par tworzonych w obrębie jednej płci. Artyści ani razu nie przekraczają granicy dobrego smaku – o co łatwo, poruszając się w tej tematyce, nie silą się też na kontrowersje. Seksualność traktuje się tu jako naturalny element życia, oczywisty i niezbywalny, a zarazem podnoszący jego atrakcyjność. [...]

W spektaklu z wyczuciem dozowana jest prowokacja, nonszalancja i humor – również autoironiczny. Dystans pomiędzy aktorem a widzem zmniejsza się w skutek bezpretensjonalnych zachowań tancerzy. Ale jeszcze nie na tyle, by ktokolwiek odważył się dołączyć do tańczących – z rozmów po spektaklu wiem, że nie tylko ja miałam na to chęć. A gromkie brawa dla zespołu Dada von Bzdülöw potwierdzają, że wspólną wycieczkę po odrealnionym świecie należy uznać za udaną."

calosc pod:
http://teatrologia-umcs.blogspot.com/2009/11/esencja-viana-dada-von-bzdulow-czerwona.html

Zdjecia/Photos by Tomek Kaminski

Links:
http://www.teatralia.com.pl/artykuly/listopad_2009/121109_kfwi.php
http://teatrologia-umcs.blogspot.com/2009/11/esencja-viana-dada-von-bzdulow-czerwona.html

A tournee with "Red Grass" by Teatr Dada von Bzdulow

2009-11-15T17:43:00.011+01:00

A polish tour with "Red Grass"/"Czerwona Trawa" by Teatr Dada von Bzdulow

Between 3-12 November we were touring the last production of Teatr Dada von Bzdulow "Red Grass" / "Czerwona trawa".

picture: Tomek Kaminski

First performances took place in Teatr Wybrzeze in Gdansk between 3-5 November.
More details on the web-site of Teatr Wybrzeze at:
http://www.teatrwybrzeze.pl/#/spektakle/czerwona-trawa
On the 8th of November we performed at the 4th Theatre Meetings OKNO in Szczecin.
More informations:
http://www.kana.art.pl/fest_okno_2009_eng.html
On the 12th of November we performed at the 13th International Dance Theatre Festival in Lublin.
More informations:
http://dancefestival.lublin.pl/index.php?page=dadavonbzdulow_en

for more info about the show look in my previous post:
http://radekhewelt.blogspot.com/2009/06/lherbe-rouge-by-dada-von-bzdulow-in.html

Links:
http://www.teatrwybrzeze.pl
http://www.kana.art.pl/fest_okno_2009_eng.html
http://dancefestival.lublin.pl/index.php?page=english-2/home
http://www.dadateatr.pl/

GOOD NIGHT & GOOD LUCK. First Vienna Dance Night.

2009-11-15T17:16:00.006+01:00

GOOD NIGHT & GOOD LUCK. First Vienna Dance Night.

Info from web-site of TQW (http://tqw.at/en/node/31&date=10.10.2009):

Ewa Bankowska, Milli Bitterli/ artificial horizon, Andrea Bold/ Tanzverein Erdberg, Magdalena Chowaniec, Cie. Willi Dorner, Super Nase & Co., Liquid Loft and others

On 10 October the Museumsquartier is totally under the sign of the First Vienna Dance Night. The Tanzquartier and the brut Wien are curating this already internationally successful format together, and are thereby creating an annual occasion for the audience and all participants to encounter the Austrian dance and performance scene.

Pieces and sketches, installations, media compositions, performative concerts and venue-specific works, as well as a lounge in which to party and swap ideas are available for the most diverse concepts and facets of the choreographic, and in one night give an intensive and compact insight into the breadth of international dance creation in Vienna – from already created productions, to current processes, to not-yet-realised ideas. Included in this, when the spectators are encouraged as observers or participants to fight their own way through the programme landscape and move back and forth through the various venues, are: the Studios and Hall G of the Tanzquartier, Dschungel Wien, the Leopold Museum, Quartier 21 and other venues in the Museumsquartier.

In the coming year, the brut Wien will be the venue for the joint dance marathon, which is supported by the Ministry for Education, Art and Culture, and which aims to make a contribution to the further networking of the Austrian dance and performance scene.

A cooperation between the Tanzquartier Wien and the brut Wien, in cooperation with Dschungel Wien, Raum D / quartier21, Museum Leopold and the Museumsquartier. With the support of the Ministry for Education, Art and Culture.

I had a pleasure to performe in 2 pieces that night:

ANDREA BOLD / TANZVEREIN ERDBERG (A)

Gesäänge

Idea: Andrea Bold
performance: David Ender, Radek Hewelt, Martin Tomann, Cezary Tomaszewski
lighting: Edgar Aichinger
costumes: Linda Redlin

With Sang & Schmacht: the HerrenGesangsVerein surrenders to its own flannel. With devotion it submits to the inevitability with which we stage the grand business of life and death; with pleasure it tastes the fraud of its own romanticising.
This time without the fallacy of the announced pure being, what a relief.
A co-production by Andrea Bold/Tanzverein Erdberg and Brut Wien. With the support of the Cultural Department of the City of Vienna and ttp I WUK.

Biographies

Andrea Bold came to Vienna from Cologne and since then has been operating in the fields of classical piano playing, performance, choreography and motherhood.

David Ender born in Wodonga, lives in Vienna. Writer, musician, performer, translator. Does a lot.

Radek Hewelt came to Vienna from Gdansk through Bratislava, Brussels and Barcelona.
Is staying. Lives and works a lot.

Martin Tomann. Vienna.

Cezary Tomaszewski born in Warsaw, lives in Vienna. Dancer, performer, choreographer, theatre studies scholar, musician. Very talented, plus other hobbies.

Since 1999 the TANZVEREIN ERDBERG has dedicated itself to leaping, flattery, soup and other things.

EWA BANKOWSKA / DENSEGROUP (POL/A)

dancing to songs (special version)

Idea and direction: Ewa Bankowska
performance: Radek Hewelt, Amanda Piña, Ewa Bankowska
lighting: Siegfried Kern
production assistance: Rosa John
Première: brut Konzerthaus Imagetanz Festival, 4 March 2009 (Performance: Radek Hewelt, Amanda Piña, Tanja Boppart, Dominique Richards, Ewa Bankowska)

“The Polish choreographer Ewa Bankowska for example turns round the idea of what Dancing to Songs means: certainly not to make ‘a good figure’. Dancing is a physical process that does not primarily exist to fulfil some kind of taste criteria. In dancing the body lets its spirit out.” (Helmut Ploebst / Der Standard, 13.3.2009)
http://www.densegroup.blogspot.com/

A co-production by Densegroup with Imagetanz/Brut Wien. With the support of the cultural department of the city of Vienna, the Ministry for Education, Arts and Culture and Dans.Kias in the framework of a residency.

Biographies

Radek Hewelt was born in Poland in 1973. He studied dance and choreography at PARTS. He has been living and working in Vienna since 2003. He has worked as a dancer and performer with: Leszek Bzdyl, Thierry de Mey, Lynda Gaudreau, Cristian Duarte, Elio Gervasi, Sebastian Prantl, Katarzyna Kozyra, Cezary Tomaszewski, Matsune & Subal, Editta Braun, Rebecca Murgi, Pathosbüro, Andrea Bold and Ewa Bankowska. In addition he creates his own works, including: Zoom in, 21 minutes, About a boy, Close-up, Tonight’s Tune.

Amanda Piña (Vienna) was born in Chile. She studied physical theatre in Chile and contemporary dance and choreography in Barcelona, Salzburg and Montpellier, (Ex.e.r.ce, dir. Mathilde Monnier). Her works include her own choreographies, which have been performed at various festivals and stages in Europe.
As a dancer she has worked, among others, with Ewa Bankowska and DD. Dorvillier, and Human Future Dance Corps. Since 2005 she has been collaborating with the fine artist Daniel Zimmermann; together they founded Nadaproductions.

Siegfried Kern is a cabaret artist, actor and winner of the Salzburg Speaking Prize in the Scouts’ House in 2001. In addition he has proved himself as a lighting and sound designer in the works Enter and Space by Ewa Bankowska.

Ewa Bankowska (Vienna/Salzburg) was born in Poland. She completed a professional training in dance and choreography at SEAD (Salzburg Experimental Academy of Dance). Since 2006 she has written her own works (Enter, Space, Dancing to Songs). In addition she works with Nadaproductions and Kabinett Ad Co. The artist’s current work will be premièred at the Tanz-House Herbst in Salzburg in November 2009.

Links:
http://tqw.at/en/node/31&date=10.10.2009
http://www.densegroup.blogspot.com/

Echos part 2 - Gazeta Wyborcza

2009-07-14T18:17:00.004+02:00

[...] "Zdecydowanie lepiej wypadło drugie premierowe przedstawienie festiwalu, czyli widowisko Dady von Bzdülöw "Czerwona trawa" w reżyserii Katarzyny Chmielewskiej i Leszka Bzdyla, inspirowane powieścią Borisa Viana o tym samym tytule. Jest to spektakl - w pozytywnym tego słowa znaczeniu - bezpretensjonalny, z nieśpiesznie następującymi po sobie wydarzeniami, przepełniony radosną erotyką. W "Czerwonej trawie" silnie obecna jest typowa dla Dady ironia. Nie przybiera ona jednak ostrego - jak choćby w "Opus pessimum" charakteru - jest raczej spojrzeniem z przymrużeniem oka na siebie samych, czy na teatralną relację aktor-widz (fenomenalna scena, gdy dwóch aktorów - Leszek Bzdyl i Radek Hewelt - wchodzą pomiędzy widzów, a Katarzyna Chmielewska i Ula Zerek tańczą na scenie wspólny układ). Prawdziwym odkryciem "Czerwonej trawy" jest Zerek, uzdolniona tancerka, która od paru lat konsekwentnie rozwija swoje umiejętności. W nowym przedstawieniu Dady nie odstawała od bardziej doświadczonych tancerzy: Chmielewskiej, Bzdyla czy Hewelta. Udanie także zadebiutowała na profesjonalnej scenie Tatiana Kamienicka. Ważny element przedstawienia stanowiła doskonała, momentami sentymentalnie "trącąca myszką" muzyka Mikołaja Trzaski, udanie przeplatająca motywy jazzowe z wpadającą w ucho elektroniką." [...]

by Miroslaw Baran (Gazeta Wyborcza)

Link to the whole review:
http://miasta.gazeta.pl/trojmiasto/1,35611,6817801,Podsumowanie_Festiwalu_Wybrzeze_Sztuki.html

Echos after "Czerwona Trawa" in Teatr Wybrzeze

2009-07-14T13:08:00.007+02:00

English version:

[...] "Czerwona Trawa" ("L'Herb Rouge") by Theatre Dada von Bzdulow is a third tryout of Dada to vie with a prose of Boris Vian - spiritual patron of this company. The dancers of Dada performing in typical for this theatre aestetics - colorful lights, presence of props (this time there were oblong green hots filled out with water and the hairdryers on the stands), great pulsing music (Mikolaj Trzaska) - shifted the motives from Vian's work to the language of dance. And exactly diverse dance of those 5 dancers (except of Bzdyl and Chmielewska also Radek Hewelt, Ula Zerek and Tatiana Kamieniecka) - allows to name this performance one of the most interesting events in festival Wybrzeze Sztuki.

Intriguing performance (a combination of different dance sequences, solos and duets) and dance of skillfully incorporated to Leszek Bzdyl's theatre debutante Tatiana Kamieniecka, gave an effect of interesting - close to Vian's prose - show; a show that is full of surprising turns of action and treats innovatively subjects of love, youth, life and death." [...]

by Lukasz Rudzinski (www.trojmiasto.pl)

Wersja polska (oryginalna):

[...] "Czerwona trawa" Teatru Dada von Bzdülöw to trzecia próba zmierzenia się z prozą Borisa Viana, duchowego patrona tego teatru. Tancerze Dady tańcząc w charakterystycznej dla teatru scenerii - naświetlenie scen kolorowymi światłem, obecność nietypowych rekwizytów (tym razem były to podłużne zielone termofory wypełnione wodą i fryzjerskie suszarki na stojaku), świetna pulsacyjna muzyka (Mikołaj Trzaska) - przenieśli motywy z twórczości Viana na język tańca. I właśnie różnorodny taniec pięciu tancerzy (oprócz Bzdyla i Chmielewskiej to Radek Hewelt, Ula Zerek i Tatiana Kamieniecka) - pozwala nazwać ten spektakl jednym z najciekawszych wydarzeń Wybrzeża Sztuki.

Intrygujące wykonanie (połączenie różnych sekwencji tanecznych, solowych i w duetach) i taniec umiejętnie wkomponowanej do teatru Leszka Bzdyla debiutantki, Tatiany Kamienieckiej, dało efekt w postaci ciekawego, bliskiego prozie Viana spektaklu, pełnego zaskakujących zwrotów akcji i nowatorskiego potraktowania tematów miłości, młodości, życia, czy śmierci. [...]"

by Lukasz Rudzinski (www.trojmiasto.pl)

Link to the whole article:
http://kultura.trojmiasto.pl/Wybrzeze-Sztuki-pelne-sztuki-z-importu-n33736.html

"Red Grass"/"Czerwona Trawa" by Dada von Bzdulow in Teatr Wybrzeze in Gdansk

2009-06-27T20:11:00.012+02:00

"Red Grass" / "Czerwona Trawa" by Dada von Bzdulow in Teatr Wybrzeze in Gdansk

Premiere: 11.07.2009
Further performance: 12.07.2009
Location: Malarnia/Teatr Wybrzeze in Gdansk

Direction: Leszek Bzdyl, Katarzyna Chmielewska
Performing: Katarzyna Chmielewska, Tatiana Kamieniecka, Ula Zerek, Leszek Bzdyl, Radek Hewelt
Music: Mikolaj Trzaska
Scenography & Costumes: Maciej Chojnacki
Video: Kamila Chomicz

From the web-site of Teatr Wybrzeze (translation):

Boris Vian, one of the soul fathers of Teatr Dada von Bzdulow, comes back in the next project of a group. In its 16-years long history Teatr Dada had already twice created the works inspired by this french writer: Wyrywacz serc, czyli balia hańby and Łapiti kontra reszta świata.

In Czerwona trawa Teatr Dada von Bzdulow meets again a prose of Boris Vian. Multidimensional language of dance theatre is a good starting point for a creative tryout of interpretation of Vian's writings in which he vies with subjects like life, youth, senility, love and death.

Katarzyna Chmielewska about Czerwona Trawa: After reading any of Boris Vian's novels the reality isn't the same any more. His surreal visions are so tempting and opening that one would love to stay and live in them irrespective of their bitterness and undefinable sadness. To be a dog Senator who lucks just Łapiti to be fully happy. To be like Lil who has two specially trained dumbledores for manicure-making. To dance to a hit of Duke Ellington.

Leszek Bzdyl about Czerwona Trawa: 1 - it's a book of my life (I read it for the first time in the age of 22 and since then I have been identifying myself with a character of Wolf what has undoubtedly influenced my relation to the world for the next 22 years). 2 - if one loves something one goes blind and looses a distance to it. 3 - we are dancing, not talking. The whole charm of Vian's prose is in its language. Therefore we have to find similar seductiveness in the movement. 4 - we have to start from what is written upon and then to flee to make autonomous, coming true in itself performance.

A premiere of performance of Teatr Dada von Bzdulow will take place in the frame of a 2nd edition of Festiwal Wybrzeże Sztuki.

Wersja oryginalna:

Boris Vian, jeden z duchowych ojców Teatru Dada von Bzdülöw wraca w kolejnej realizacji zespołu. W swojej szesnastoletniej historii Teatr Dada już dwukrotnie inspirował się literacką spuścizną francuskiego pisarza tworząc widowiska o tytułach: Wyrywacz serc, czyli balia hańby oraz Łapiti kontra reszta świata.

Czerwona Trawa to kolejne spotkania Teatru Dada z Borysem Vianem. Wielowymiarowy język teatru tańca stanowi świetny punkt wyjścia do twórczej próby interpretacji pisarstwa artysty, który w tak niezwykły i niebanalny sposób mierzy się z życiem, młodością, starością, miłością i śmiercią.

Katarzyna Chmielewska o Czerwonej trawie: Po przeczytaniu jakiejkolwiek książki Borisa Viana rzeczywistość nie jest już taka sama. Jego surrealistyczna wizja jest tak pociągająca i otwierająca, że chciałoby się w niej przebywać i trwać, pomimo goryczy i bliżej nieokreślonego smutku. Być jak pies Senator, któremu do pełni szczęścia brakuje tylko Łapiti, albo jak Lil która posiada dwa specjalnie tresowane chrabąszcze do robienia manicure, albo tańczyć hit Diuka Ellingtona pt. „przeleć mnie”.

Leszek Bzdyl o Czerwonej trawie: 1 - to książka mojego życia (przeczytałem ją po raz pierwszy mając 22 lata i jakoś utożsamiłem się z Wolfem, co wpłynęło zapewne na mój stosunek do świata przez kolejne 22 lata) 2 - jak się coś zbyt mocno kocha, to się ślepnie i traci dystans 3 - my tańczymy a nie mówimy, a przecież cały urok Viana w języku, więc musimy znaleźć podobny urok w ruchu 4 - z tego co powyżej musimy zacząć z Vianem, a potem przed nim czmychnąć, by zrobić autonomiczne, spełniające się samo w sobie przedstawienie.

Premiera spektaklu Teatru Dada von Bzdülöw odbędzie się w ramach II edycji Festiwalu Wybrzeże Sztuki.

Link:
http://www.teatrwybrzeze.pl/spektakl.xml?t=Czerwona%20trawa%20(Festiwal%20Wybrze%C5%BCe%20Sztuki)&id=68

Festiwal Wybrzeze Sztuki:
http://www.teatrwybrzeze.pl/324.xml
http://www.e-teatr.pl/pl/artykuly/75170.html

Teatr Dada von Bzdulow:
http://www.dadateatr.pl/

Artsitic Residency with Dada von Bzdulow in Burdag/Poland

2009-06-27T19:42:00.007+02:00

Artistic Residency in Burdag with Dada von Bzdulow

Between 21-27 together with Leszek Bzdyl, Kasia Chmielewska, Ula Zerek and Tatiana Kamieniecka (Teatr Dada von Bzdulow) I enjoyed the process of creation on "L'Herbe rouge" ("Czerwona Trawa"). A project is based on the book of Boris Vian under the same title. Premiere will take place on July 11th in Malarnia - Teatr Wybrzeze in Gdansk/Poland.

Direction: Leszek Bzdyl, Katarzyna Chmielewska

Performing: Katarzyna Chmielewska, Tatiana Kamieniecka, Ula Zerek, Radek Hewelt, Leszek Bzdyl

Scenography & Costumes: Maciej Chojnacki

Music: Mikołaj Trzaska

Video: Kamila Chomicz

Links:
http://www.burdagstudio.com/
http://www.dadateatr.pl/

Pokolenie solo?

2009-06-27T19:27:00.002+02:00

Pokolenie solo? - Joanna Szymajda

"...Pokolenie solo/freelancerowców czasami świadomie i z determinacją wybiera pracę za granicą (Magdalena Reiter – Słowenia, Helena Gołąb – Hiszpania), gdzie formują się niekiedy mikrospołeczności (w Wiedniu: Radek Hewelt, Cezary Tomaszewski, Ewa Bańkowska, Magdalena Chowaniec)..."

Caly artykul:
http://www.kongreskultury.pl/title,Kalendarium,pid,23,oid,21,cid,90.html

PREMIERE OF "TONIGHTS TUNE"

2009-06-01T10:33:00.008+02:00

TONIGHTS TUNE will have its
premiere on Tuesday 2 of June (further performances 3 and 4 of June) at 8 p.m at WUK in Vienna.

Artistic leading: Radek Hewelt
Choreography/Performance: Gabri M. Einsiedl, Dominik Grünbühel, Radek Hewelt, Linda Samaraweerova

For more information click on the picture below to enlarge!
Or go to: www.wuk.at

BURGENLÄNDISCHE TANZTAGE

2009-04-30T00:55:00.018+02:00

On 2nd of May we're going to present with Anna Nowak the results of our residency in Pinkafeld (D.ID - Dance Identity) that took place between 1-21 of February 2009.
It took finally a form of a performance.
It'll be presented in OHO in Oberwart within the programme of BURGENLÄNDISCHE TANZTAGE festival.

More informations about our project are published on this blog in posts from February'09.

For more details about festival click on attached pictures to enlarge them.

7400 Oberwart, Lisztgasse 12, Tel 03352/38555, Fax 03352/38555-22, office@oho.at

"Tonights tune" in progress...

2009-04-30T00:33:00.008+02:00

Tonight tune is a score composed for 4 instruments.
The performers are the musicians and the instruments at the same time.
They act on according to the score.
It’s a concert.
They play using their bodies and voices.
It’s about singing physicalities and dancing voices.
It’s about physicality and voice tuning in with each other.

But it is also about the pitch of movement,
…a rhythm of the thought,
…a timbre of emotion,
…a the loudness of imagination,
…a melody of attention,
…a polyphony of different levels of perception,
…the musicality of the presence.

All in all it’s about tuning… again and again.
And it’s about particular tune of tonight.

The premiere will take place in WUK on 2nd of June. Further performances: 3, 4 June

Pathos alarm in outer space

2009-04-29T21:30:00.013+02:00

On Saturday and Sunday we had a presentation of our new movie: "Pathos Alarm. In space nobody can hear you sing".
It's a second episode of our science-fiction sequel happening in the outer space.
The premiere was spiced up by life performance.
The audience could see as well first part of "Pathos Alarm" (pilot episode) that had a premiere in 2008.

Exerpts of the review/analisys of our event by Helmut Ploebst:

"Aliens im Peinlichkeitsraum

WIE DAS PATHOSBÜRO UND DIE BORN-TO-SIT-COMPANY AUS WIEN DAS OSTERMAYERSCHE ECHO ERKLÄREN

Von Helmut Ploebst

Weltpremiere des Films „Pathosalarm in Outer Space #1“ (Ö 2008) im Filmhaus Wien. Nach der spektakulären Veröffentlichung des Pilotfilms „Pathosalarm in Outer Space #0“ (Ö 2007) mit Katherina Zakravsky in der weiblichen Hauptrolle setzt das Wiener Pathosbüro nun mit einem Sequel nach, gegen das „Matrix Reloaded“ sich als, wie es im Österreichischen heißt, bloßer Lercherlschas [dt.: vernachlässigbare Flatulenz einer Lerche] ausnimmt.

Die Welt ist seither nicht mehr dieselbe. Und wieder geht das Virus einer großen Veränderung der Zeitläufte von Wien aus. Von jener Stadt also, in der das Wort „Diskurs“ immer kleiner geschrieben und in neuerer Zeit zunehmend mit einer flachen runden Scheibe verwechselt wird. Das diskurswerfen [sic!] ist eine intellektuelle Wiener Sportart, die durchaus den Rang eines Booms einnimmt. Sie zeichnet sich durch eine Bogenhaftigkeit aus, die den Ausgangsimpuls stets zu seiner Quelle zurückleitet („boomerang discourse“). Diese Bogenhaftigkeit wirkt wie eine Antwort auf Slavoj Zizeks „Parallaxe“: Aus der Rückbeugung des Wurfs entstehen gekrümmte Subperspektiven, in deren Dazwischen ein Möglichkeitsraum entsteht, der allgemein als Peinlichkeitsvolumen identifiziert werden kann."

The whole article in corpusweb.net.

Link to the article:

http://www.corpusweb.net/index.php?option=com_content&task=view&id=1184&Itemid=35

Some impressions from the process on "Tonights Tune"

2009-04-19T23:11:00.009+02:00

Gabri:

Linda:

Dominik:

and Radek:

Artistic research with Mathilde Monnier in TQW

2009-04-19T22:04:00.006+02:00

I'm going to participate in an artistic research with Mathilde Monnier. The workshop take place between 20-25 April in Tanzquartier Wien. It's a part of Insel No. 8 curated by Katrin Roschangar and Mathilde Monnier. On Friday 24th April at 5 p.m. there will be an open lab for public.

"In the open lab of the artistic research Copied by Mathilde Monnier interested spectators can inform themselves about the results and discoveries of the participants. In her five-day workshop, in place of the master Monnier places pictures, recollections or videos at the centre and uses these materials as the starting point to explore thematic complexes such as copying, re-enactment or plagiarism. The medium becomes the master. The participants attempt to approach the originals meaning of the original and so achieve a reinterpretation."

(from web-page TQW)

About research:

"Mathilde Monnier’s project Copied oscillates between workshop and artistic research and explores the thematic complex of copy, re-enactment, collage, reinterpretation and plagiarism. Together with her the participants gather choreographic excerpts, which are subject to a process of (re-)interpretation and which serve as the starting material for joint analysis of reproduction, interpretation, reworking and quotation: how can this material be re-used and how is it to be understood in its original meaning? Then the attempt will be made to create various versions of readings and to transform this into action, into representation. In the process, the concept of the master will be consciously dispensed with and instead tools such as memories, pictures and videos will be drawn on."

(from web-page of TQW)

More informations under:
http://www.tqw.at/Content.Node/en/stage/repertoire/stage_detail_e.php?ver_id=1189
http://www.tqw.at/Content.Node/en/professionals/arrangements/professionals_detail.php?ver_id=1212

The Premiere of "Pathosalarm. In space nobody can hear you sing"

2009-04-19T21:01:00.008+02:00

After a success of their first movie (pilot epizode) Pathosbüro will present new epizode "Pathosalarm. In space nobody can hear you sing". A premiere will take place on Saturday April 25th in Filmhauskino in Vienna. We'll also present a live-gala-performance and our first film "Pathosalarm. There is no change in space".

PATHOSBÜRO (Daniel Aschwanden/Andreas Braito/Radek Hewelt/Amanda Pina/Cezary Tomaszewski/Katherina Zakravsky/Brano Spacek)

PRESENTS:

EXTENDED CINEMA EVENT (a.o. premiere of new movie by Pathosbuero) WITH LIVE-PERFORMANCE

When: 25th and 26th April 2009

Programme of the evenings:
20.30 Pathosalarm Episode 1 (Premiere)
21.30 live Performance
22.00 Pathosalarm Pilot Episode

„PATHOSALARM IN OUTER SPACE“ Der Pilotfilm.
Entstand in sehr privater Atmosphäre in einem Privatgarten im Hochsommer 2007. Lehnt sich an die Weltraumabenteuer von „Raumschiff Enterprise“ an, Captain Kirk hat als Pappavatar sogar einen Gastauftritt. Drei unerschrockene Raumfahrer (Aschwanden, Hewelt und Zakravsky) geraten in die Fänge eines sinistren kugelförmigen Alien (dem letzten der Parmenidesianer), der die Erdlinge mit Halluzinationen, u.a. von Unterwasserballettschönheitenim Stile von Esther Williams, verwirrt. Sie warten ebenso heroisch wie erfolglos darauf, aufs Mutterschiff zurückgebeamed zu werden. Schließlich aber diskutieren sie im Plasmapool der Illusion die Frage des vollkommenen, sphärischen Seins, mit dem frei nach Parmenides alle Bewegung und somit auch jede weitere Erforschung des Weltraums endet.

In der Episode 1, gedreht auf dem Arsenalgelände in Wien, werden frei nach einer Kurzgeschichte von Philip K. Dick fünf „Einheiten“ (Aschwanden, Hewelt, Pina, Tomaschewski und Zakravsky) verfrüht aus dem kryonischen Schlaf geweckt. Sie erwachen zu einer Mission ohne ihr Programm zu kennen. Sie belauern einander misstrauisch ohne über ihre jeweilige organische oder künstliche Beschaffenheit bescheid zu wissen. Die Erkundung des Geländes gestaltet sich mühsam und fruchtlos. Der einzige lebende Bewohner ist ein schwer verständlicher Hühnermensch. Während die einen in die fruchtlose Verehrung eines Schlotes als Gottheit verfallen, andere ein dysfunktionales Entertainmentprogramm des aufmunternden Gesangs aktivieren, versucht der Rest erfolglos die Fluchtmit einem alten Vehikel.
Doch der Planet ist eine unsichtbare Festung.

New production TONIGHTS TUNE starts now!

2009-04-03T01:27:00.015+02:00

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.

BART supported by Valie Export in Tanzquartier Wien

2009-04-03T01:03:00.010+02:00

You're very welcome to look at:

http://www.youtube.com/watch?v=W7Eobbjt6io

It's a video that I prepared with cooperation with BART's members and supporters for Valie Export charity event in Tanquartier Wien. All the money from selling her scissors sculptures will donate BART - an association iniciated by emerging, Vienna-based aritsts working in the field of contemporary dance and performance. BART functions as a platform to support artistic dialogue and exchange. It strives to improve the cultural, political and economic conditions for the moving young dance/performance community. It also aims to carry further the constructive collaboration with organizers, curators and sponsors.
BART rethink models for distribution of resources and knowledge and is dedicated to promoting the support and visibility of the emerging Vienna-based artists.
The event took place on March 31st in Tanzquartier Wien

Video: Radek Hewelt
Soundtrack: Andrea Maurer
Participants: Members and supporters of BART

Links:
http://www.valieexport.com
http://www.tqw.at/Content.Node/de/buehne/open-up-kommunikation-valie-export.php

Gesaeaenge by Andrea Bold

2009-03-25T11:29:00.002+01:00

After a SCENARIO

2009-02-20T00:43:00.007+01:00

Scenario 1 seemed to work. Very interesting experience. A piece that came from process but is not about a process... although it's nothing more than our process and meeting.
We will show it between 1-3 May in Oberwart/Austria in OHO. If somebody is going to be around at that time feel very welcome to come and see us!

a SCENARIO

2009-02-19T00:04:00.002+01:00

Our last 2,5 weeks in Pinkafeld seems to be very fruitful. I don't want now to conclude this period because it's not over yet. But just shortly... we discovered new for us methods of working, we observed ourselves in creative process, we found some interesting ways of communicating, we feel that we enriched our artistic language, we found some new choreographic tools... But on top of all we tried to stay open till the last moment of residency (and still try)... what was not so easy because we couldn't ignore the fact that our research has to and will be presented in some form in the theatre.

Tomorrow we would like to try one strategy of "stage summary".
We call it SCENARIO.
Tomorrow SCENARIO 1.

The past (our Pinkafeldish experiences in particular) is in us. We want to bring it to the presence. These realities will mix in "now". We want to free our LITTLE SCIENTISTS, the active and passive observers in one... They will execute the scenario we prepare before the presentation. They will also observe themselves in "now".
A scenario will be a holly structure. After articulating it no changes are possible.
A scenario will consist of situations and themes we've worked on for the last 2,5 weeks.
We will execute the scenario as if it was already presented... in another words as if it is ready and already performed piece.

Wish us good luck!

Still on the road... (Langhansgasse)

2009-02-17T22:01:00.005+01:00

How to present the identity?

2009-02-16T22:54:00.006+01:00

Two people... different by definition...
woman and man... one space which they share... the same working and out-of-working hours... cooking together... time between work and out-of-work not clear really... in general some kind of synchronicity.

(Maybe our unison and all the thoughts around are actually not a coincidence or an expression of the moment - it's just a side thought though.)

All things happen through doing and tuning. Anna sings in the kitchen... I write but in the same time hear her singing. The song that we use in the studio changes constantly through the context that changes around... We don't have a clear theme. Actually all our interests meet in doing, reflecting, again doing and again reflecting. In one minute things will be different. They might be richer but they might also form the past which we want to forget... Because again the circumstances changed.

And in the same time we would like to create something that we could present, something almost timeless... but parallelly a core of our meeting. It's not a chaotic meeting or chaotic process. It's in fact very well tuned. But all conventional tools of representation seems to fail... We don't have enough time to create a spectacle, we don't want to make a lecture, we don't really want to improvise on what we worked... How to find a glue? Or... do we have to find a glue? But if we don't have a glue things might seems to be not connected...

My brain looks for clarity, for a ground... I want it now! It's very impatient.
But in the same time I don't want to close the possibilities... I'm staying close and open... in between stability and unstability... Our process or rather creation stays in between stability and unstability. It's precious but fragile... how far to trust this unstability? It's also a quality in fact... But then how to present the unstability or rather fragility? How to present in one frame the things that are becoming in the moment but are strongly related to what was?

.............

The creature that exists already for a while... it has a past, it has its own habits, it has some ways of communicating. The creature is unique. It has its own particular movement of eyebrows. It likes specific perfume. It has a small tick in one of the fingers. It has its own way of articulating the words... emotional and behavioral patterns of dealing with other creatures... specific way of seeing the world... It has its own identity. The identity is visible in everything the creature does. Now... how to present this creature? Does it need any extra context?

Still on unison - now from Anna

2009-02-13T18:35:00.000+01:00

Dear Radek,

Yes, I agree – a unison takes away our individuality, too some extent at least. Synchronization decides for us. It is an old fashioned idea – two (or more) dancers moving together, a mere effect. What do we perceive when we watch a perfect unison dance? Virtuosity, harmony, symmetry, strength, logic, order? Maybe…

Unison can be (let me sound a bit sentimental, old fashioned and pretentious) joy of sharing the same experience, it can give you a place of belonging, ground under your feet. A structure you can leave and than go back to. Don’t other people and their presence give us a background, a context, against which we can define ourselves? I hear you asking me : yeah, but, not necessarily in unison… And your are probably right. Unison is not a necessity, it is an interesting possibility. Synchronization of movement and its meaning is a challenging task. Especially after all the bad fame it received in the recent history of choreography.

I believe there is a way to be truly with someone without abandoning yourself. Integration comes from differentiation, not from unity. In our duet we can become “wholeness” , at the same time strongly individual, only if we are completely sure of what we are doing, only if we stay specific and unique. A kind of paradox? Am I making any sense? I know what I wanna say, kind of… Probably I was cleaning too much and got high on chemicals…

Thursday

2009-02-12T22:56:00.004+01:00

Anna and Radek do the unison... They try to synchronize intensions, movements, emotions, breathing, speaking, singing, focusing... utopian and impossible task because one could always go deeper and deeper into unison... seems there would never be a bottom. But they try to go quite deep and they realize more and more how utopian they are...

I want to become you...

When they are trying to become the unison they are loosing partly their own qualities and identities sacrificing them for uniformity. Big percentage of Anna's and Radek's attention goes to the partner. In a way they are loosing their special features, their uniqueness...
They are reducing themselves as well. More and more in time... more they want to be the same - the perfect unison - more they have to simplify.... reduce their functions, personal patterns, etc.
So they objectify themselves... they can become each other in reduction...

But is reduced Anna still Anna? Is minimalized Radek still Radek?

In the middle at D.ID

2009-02-11T23:32:00.003+01:00

gib anclgeni...

ibg canlenig...

big claneing...

big cleaning day!

Tuesday at D.ID

2009-02-10T20:45:00.010+01:00

A: You and me are two unrelated concepts – what will happen if we confront them? What if we stretch the form of the world at this very moment? I am the potentiality of your new reality, of your next move. Look inside your own body... Get a grip of yourself and of the other arm, foot, tongue, neck. Is it my hand?… not any more… well yes, actually it is still mine. My hands in your hands are my hands…

R: I’d like to become you. I feel your weight, your temperature, your breathe… I can sense where my hand in your hand will move now… you speak and I observe your mouth and your eyes looking for some missing word somewhere in the air… I try to speak like you… I look for missing word in the air… I observe myself trying to speak like you… can I break the border between you and me… What is actually this border? Maybe if we change the context of our reality I can become easily you? Or I just simply will be you?

A: Could I borrow you for a moment?

...

Residency at D.ID - the beginning of 2nd week

2009-02-10T00:22:00.014+01:00

Monday. Anna came back from Vienna at the morning. Long talk with Manfred - good, clearing-up...
A sun passing through the windows creates nice scenography on the floor... Deformed shapes of the windows... Strange perspectives... We are a bit misplaced today, aren't we?

Hard to start after the weekend. Last week was so productive, full of impressions, ideas, try-outs, never-ending improvisations... But today everything seems to be at least "under a big question mark". Did we move somewhere? Are we going somewhere? Our direction seems to be very blurred or maybe just intuitive... We know what but not yet how. It's difficult to verbalize what we do... the misplacement, the contexts and meanings that are unexpectedly and continuously changing creating another contexts and meanings... how much should we be concrete and how much abstract? what is our language?
...
Brain cleaning. Intuitively something to get on a track. Misses Robinson, Dustin Hoffman, misplaced sexuality...
...
And again Anna, me and deformed windows on the floor... I dance. Anna observes. Misplacement of physical impulses... Should be an elbow but it goes to the knee, should be the right heel but a tongue takes it over... Interesting results but where does it go?

A change. Anna dances. I observe... Same conclusion! Not any further...

Maybe together... misplacement of body parts. Anna's hand is Anna's tongue is my index finger is touching Anna's pelvis that becomes my nose touching in round motion the ear of Anna... Meeting of our chicks. Pause. Does it create a meaning? ... are we too much abstract? A finger goes inside the mouth. A baby? Oral sex? Out in own thoughts? My finger is Anna's finger... we're not yet there. Long pause...

Finally we agreed that there is something unique in our cooperation... We both feel it. It gives us the hope and the force to go on... Lets go through everything we have done till now... we have our notebooks in the hands... another never-ending improvisation... but yes, we are getting again closer... we know it, we feel it but we can't yet set the rules... there are still some things beyond our conscious impressions... too important to give them up.

Manfred came again. He brought us Sacks... Great, new food... and again we talk... we are becoming through a talk... The optimism is back...

Radek and Anna at residency at D.ID/dance identity in Pinkafeld/Austria

2009-02-08T14:46:00.013+01:00

When: 01-21 February 2009
What: artistic residency in D.ID/dance identity
Where: Pinkafeld/Burgenland - Austria

Anna Nowak and me received an artistic residency from D.ID/dance identity (artistic director: Liz King). The results of our 3 weeks long research will be presented between 1-3 May'09 in a dance festival in in Oberwart/Burgenland. More informations will follow.

Concept, Choreography & Performance: Anna Nowak, Radek Hewelt
Coaching: Manfred Biskup

Links:
D.ID/dance identity - http://www.dance-identity.at
- http://www.oho.at