Trouble
Live art is by nature a territory where dance flirts with the visual arts. The artists mentioned here, Steven Cohen and Janez Jansa/Maska, work on those fringes. Their work was presented at the festival Trouble which, each year in the Halles of Schaerbeek in Brussels, shakes the establishment and allows interaction with artists from the visual arts, like Myriam Laplante. Here are our troubles with the works we saw.
Cohen Cohen Cohen – Trouble trouble trouble
The strongest asset of a festival is also it’s flaw: too much! “What? You missed another performance!?” A flaw that echoes the massive offering (cultural or other) in our peaceful western societies. But the merit of a festival, notwithstanding the proper use of the festival in question, is that one can also stop the internal clock and let oneself be submerged in the mental fluctuation it causes. Remain hypnotised. Follow the artist with the long eyelashes – Steven Cohen – into his dressing room, take off his make-up to discover what he looks like without it and accompany him home, to South Africa. Perched high on his stilts (30 cm high heels) he walks slowly and stumbles often, just like the civilization he seems to target ...
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Tanz Jahrbuch 2008
Rubrik: Trouble, Seite 98
von Sybille Cornet, Béatrice Didier, Linda Lewkowicz
Some choreographic works are not understood until they are seen from an art-historical perspective, when their significance shows. This is true of VA Wölfl and Neuer Tanz, say, and especially so of Gerhard Bohner. Alone among choreographers, he linked the study of movement with investigations into space, line, colour, abstraction and art-philosophical concepts such...
«Thou shalt not kill», sagt der Tänzer Darryl E. Woods. Du sollst nicht töten. Auf der Bühne wird der Gashahn aufgedreht. Alle fallen in ein tiefes Koma. Dazu klingt 800 Jahre alte Musik, so entsetzlich fröhlich komponiert wie von Menschen, die die Kreuzzüge überlebt haben und nicht mehr wissen, ob sie nun bei den Engeln oder in der Hölle leben. Klar: Die Engel...
“That spring day in 1994 on the Croatian island Krk was one of the most special days in my life,” says Marko Peljhan. On this island in the Kvarner Gulf, where there were practically no tourists in the first half of the 1990s, he – together with a team of co-workers with whom he was contemplating his third performance – set off for a location marked only by a...
