Three more LOOPING presentations in Montemor

Friday Sept 17, 2010 | 9.30pm | Blackbox

TILTED FAWN by Melanie Lane (Berlin)

SERIES by Marko Milic (Belgrad)


Saturday Sept 18, 2010 | 9:30pm | Blackbox

HOME(lessness)SICKNESS by Nele Suisalu (Estonia)

Dates & Infos for TANZ IM AUGUST 2010

The LOOPING productions in 2010 will be soon presented at TANZ IM AUGUST in Berlin !

AUGUST 29 - 6pm - Podewil

Begüm Erciyas
Victor Hugo Pontes

AUGUST 30 - 7pm - HALLE

Melanie Lane
Marko Milic


AUGUST 31 - 7pm - Podewil

Nele Suisalu
Jean-Baptiste Bonillo


Please visit www.tanzimaugust.de for more information !

WEDNESDAY 16 - two more presentations in Uzès !

Home (Lessness) Sickness Premiere

by Nele Suisalu (EST)

Rendez-vous

by Victor Hugo Pontes (P)

In the world we live, to speak about divergence and deviation from each other’s course of life is mere common place. At Rendez-vous the cliché will be buried in order to talk about epiphanies: how do we reach the person or the things we encounter. The point of departure is the accomplished act, the step taken.

Performance Dates...
WEDNESDAY JUNE 16  |  5 PM

UZÈS  |  salle de l'anciente Evéché

http://www.uzesdanse.fr/festival09.html
   

TUESDAY 15 - two LOOPING premiers in Uzès...

TILTED FAWN

by Melanie Lane (D)

Photo: Doreen Markert

SERIES

by Marko Milic (SER)

Photo: Marko Milic

Performance Dates...
TUESDAY JUNE 15  |  5 PM

UZÈS  |  salle de l'anciente Evéché

http://www.uzesdanse.fr/festival09.html
   

Tonight at Festival Uzès Danse...

PALIMPSESTE
by Jean-Baptiste Bonillo (F)

Photo: Chrystel Gisclard

BALLROOM
by Begüm Erciyas (TUR)

Photo: Jenny Beyer

Performance Dates...
MONDAY JUNE 14  |  5 PM

UZÈS  |  salle de l'anciente Evéché

http://www.uzesdanse.fr/festival09.html

   

David LePôle (1968, Château Thierry, France)

LePôle travaille sur le fil des accidents, des fractures, des bugs informatiques, vidéos. LePôle works on a string of accidents, broken parts, computer bugs, videos.>+++++++++[<+++++++++++>-]<[>[-]>[-]<<[>+>+<<-]>>[<<+>>-]>>>LePôle cherche , il cause, il triture les matières, les bits, les glitch, les formats. il sort des cadres. LePôle seeks, he talks, he grinds the materials, the bits, the glitch, the formats. He steps out of guidelines.[-]<<<+++++++++<[>>>+<<[>+>[-]<<-]>[<+>-]>[<<++++++++++>>>+ LePôle is unruly in multiple endeavours, poetic and fragile.-]<<-<-]+++++++++>[<->-]>>+>[<[-]<<+>>>-]>[-]+<<[>+>-<<-]<<LePôle improvises with suitcases full of improbable machines and generous visual surprises ...-]<<-<-]+++++++++>[<->-]>>+>[<[-]<<+>>>-]>[-]+<<[>+>-<<-]<<<

LePôle=numerikexperimentatatonnedebitengigaemotionnel.
LePôle=numerikexperimentatatonnedebitengigaemotional.

Mélanie Nézereau-Paquemar (1978, Chenôve, France)

A graduate of CNSMD Lyon (1995-1999), Melanie Nézereau Paquemar- has crossed the universe of Yvann Alexander, Robert Siegfried in collaboration with Suzanne Linke, Jacky Taffanel, Robert Connors and Loretta Yurrick at the National Dance Theatre of Ireland since the beginning of her career.In addition to her close collaboration with Jean-Baptiste Bonillo within the Post Partum Company including «Presumed Innocent» in 2001 and «Kill the Baby, Save the Food» in 2008, she trained in Ericksonian hypnosis which she currently practices as a professional.

Diplômée du CNSMD de Lyon (1995-1999), Mélanie Nézereau-Paquemar a traversé depuis le début de sa carrière les univers de Yvann Alexandre, Robert Siegfried en collaboration avec Suzanne Linke, JackyTaffanel, Robert Connors et Loretta Yurrick au National Dance Theatre of Ireland.En plus de son étroite collaboration avec Jean-Baptiste Bonillo au sein de la compagnie notamment dans « Présumée Innocente » en 2001 et « Kill the Baby-Save the Food » en 2008, elle se forme à l’Hypnose Ericksonnienne qu’elle facilite aujourd’hui en cabinet libéral.

Jean-Baptiste Bonillo (1977, Montpellier, France)

After his degree at the Conservatoire National Supérieur de Musique et de Danse de Lyon (1996-1999), Jean-Baptiste Bonillo danced and toured in the works of Tom Plischke and Dominique Boivin. He performed his first personal project « Moi, Personnellement, Je... »He collaborates with Mélanie Nézereau Paquemar whom he met at the CNSM. Together they conceived « Présumée Innocente ». Jean-Baptiste Bonillo has learned the skills of Specialized Kinesiology, Manual Global Therapy and Dr Bach Flower’s Remedies all of which he uses in his present activity as a professional. 

Urged by Daniel Larrieu’s advice, he began his company which he later bases in Montpellier. In 2008, Jean-Baptiste Bonillo began working on « Kill the Baby-Save the Food », a project for which he was selected for the European and Mediterranean Young Artists Bienal in Skopje – Macedonia in 2009. He is pursuing a research work on the «Palimpsest» with David Lepôle, videographer and Melanie Nézereau-Paquemar, interpreter and hypnotherapist at his side. This project has been selected by the 2010 « Looping » initiated by Uzès Danse (France), in cooperation withTanz Im August (Berlin) and O Espaço Do Tempo (Montemor-o-novo/Portugal)

Après ses études au CNSMD de Lyon (1996-1999), Jean-Baptiste Bonillo rencontre l’univers de Tom Plischke à Bruxelles et celui de Dominique Boivin à l’Opéra National de Lyon. Il signe un premier solo « Moi, Personnellement, Je... », work-in-progress qu’il reprendra en 2005. Il collabore avec Mélanie Nézereau-Paquemar rencontrée au CNSM de Lyon et conçoit avec elle en 2001 « Présumée Innocente ». Jean-Baptiste se forme à la Kinésiologie Spécialisée et aux Fleurs de Bach qu’il pratique aujourd’hui en cabinet libéral. 

Sur les conseils bienveillants de Daniel Larrieu il fonde la Compagnie Post Partum qu'il implantera plus tard à Montpellier. En 2008, il signe « Kill the Baby - Save the Food », pièce qui sera sélectionnée pour la Biennale des Jeunes Créateurs d’Europe et de Méditerranée en 2009. Il poursuit son travail de recherche sur le « Palimpseste » en collaboration avec David LePôle vidéaste et Mélanie Nézereau-Paquemar, interprète et hypnothérapeute. Ce projet est sélectionné en 2010 par «Looping », initié par Uzès Danse, en partenariat avecTanz Im August (Berlin) et O Espaço Do Tempo (Montemor-o-Novo/Portugal).

Begüm, Jean-Baptiste & Victor presenting in...

http://www.oespacodotempo.pt/pt/

LOOPING CHOREOGRAPHIC PRODUCTION: Jean-Baptiste Bonillo (F)

LOOPING CHOREOGRAPHIC PRODUCTION: Jean-Baptiste Bonillo (F)

CLARK (Warp Records, UK)

Sound Composition & Installation | Tilted Fawn | Melanie Lane (D)

CLARK, born in London, has worked with music and sound for over 10 years. He records for the label Warp (UK), for whom he has released 5 albums and 6 e.p.'s. His records are released with international success and his live sets have toured throughout Europe, Asia, Australia and the United States. His work with LOOPING choreographer Melanie Lane (D) started last year with a score for HELD.

Whilst his work for Melanie Lane is traceable back to the artist who has contributed this body of work music for Warp, the music created for HELD and LOOPING production TILTED FAWN simultaneously offers a radical departure, and a new fresh sense of space.

It is a bold, uncompromising and radical departure from his usual “known” work, and represents the first in a series of liberated, fully committed sonic explorations into the world of performance art.

WEB: http://www.myspace.com/throttleclark

PALIMPSESTE Season 2... byLePôle. Pearl from our soundimages-on-glitch creator / LePôle/tntb/

PALIMPSESTE SEASON 2 from Le PôLe on Vimeo.

Cie POSTPARTUM

First LOOPING premiers in Portugal ahead...

This weekend, O Espaço do Tempo will present  three LOOPING productions in Montemor-o-Novo:

Friday June 11, 2010 | 9.30pm | Blackbox

BALLROOM by Begüm Erciyas (Turkey)
Link to program information

PALIMPSESTE by Jean-Baptiste Bonillo (France)
Link to program information

Saturday June 12, 2010 | 9:30pm | Blackbox

RENDEZ-VOUS by Victor Hugo Pontes (Portugal)
Link to program information

Victor Hugo Pontes

Born in 1978 in Guimarães, Portugal. BA in Fine Arts & Painting by Faculdade de Belas Artes da Universidade do Porto (Oporto University, Fine Arts School). Norwich School of Arts & Design in Norwich, UK, 2001. Drama courses at Balleteatro Escola Profissional and Teatro Universitário do Porto. Choreographical Research and Creation course at Forum Dança, Lisbon, 2003. Theatre Direction course, directed by Third Angel at Fundação Calouste Gulbenkian, Lisbon, 2004. “Projet Thierry Salmon” La Nouvelle École des Maîtres, directed by Pippo Delbono, Belgium and Italy, 2006.  

As a performer, worked with Moncho Rodriguez, Joclécio Azevedo, João Garcia Miguel, Nuno Carinhas, João Paulo Costa, Ana Luísa Guimarães, Lígia Pape, Jack Souvant, Isabel Barros, Mário Afonso, Alberto Magno, Elisabete Magalhães, Mathilde Monnier, Clara Andermatt, Charlie Degot, Vera Santos, among others.

As a director and choreographer, created Puzzle (Festival da Fábrica / 2003), Voz Off - «Voice Off» (NEC – Quadros de Dança / 2003), Laboratório - «Laboratory» (Fundação Calouste Gulbenkian / 2005), 100 Palavras - «100 Words» (co-created with Wilma Moutinho, NEC – Inter.faces / 2005), Ícones - «Icons» (2006), Voyeur (NEC – Quadros de Dança / 2006), Fotomontagem - «Photomontage» (NEC / 2006), Ensaio - «Rehearsal» (Fundação Calouste Gulbenkian / 2007), Manual de Instruções - «Instructions Manual» (CCVF / NEC / O Espaço do Tempo / 2009) e Vice-Versa (Teatro Maria Matos / CCVF / Teatro Viriato / Teatro do Campo Alegre / NEC / 2010).  

As assistant director, worked with Nuno Cardoso in: Woyzeck, by Georg Buchner (2005); Plasticina, by Vassili Sigarev (2006), Platónov, by Anton Tchékhov (2008), all produced by Teatro Nacional S. João (Oporto National Theatre); Richard II e R2, by William Shakespeare, produced by Teatro Nacional D. Maria II (Lisbon National Theatre / 2007); The Good Person of Szechuan, by Bertolt Brecht, produced by Centro Dramático Galego / Spain / 2008; Menagerie du Verre, by Tennessee Williams, produced by Ao Cabo Teatro / 2009.  

Since 2005 works as set up designer for the pop/rock music band Clã. In 2008 directed, with Helder Gonçalves, the videoclip Amuo, for the same band, and in 2009 directed the concert/show Barbie Suzie Dolly Polly Pocket, at Teatro Nacional S. João.  

Since 2003 is regular teacher at the Theatre and Dance Graduation Course, Balleteatro Escola Profissional (Porto). Between 2003 and 2006 was selected as «Young Talent» in Portugal, at the contest Jovens Criadores («Young Artists»). In 2005 represented Portugal at Repérages – Rencontres Internationales de la Jeune Choréographie, Lille, France. In 2007 was awarded the first prize, with the dance piece Ícones - «Icons», by No Ballet – 2nd International Choreography Competition Ludwigshafen, Germany. In 2008 represented Portugal at the Europe and Mediterranean Young Artists Bienal, Bari, Italy. Recently integrates the cast of L'Européene, written and directed by David Lescot, and produced by Théâtre de La Ville (Paris) / Napoli Teatro Festival (Naples). Simultaneously, was selected by Intradance Project to direct the Russian company Liquid Theatre, in a show presented in May 2010, in Moscow, called Far Away From Here. Selected LOOPING Choreographer 2010, creating "Rendez-vous".

www.victorhugopontes.blogspot.com
 

Step by step...

Dear Blog Readers,

The Blog is currently under construction. It takes form gradually with the support of the LOOPING participants in order to provide an online plattform for all productions that are created within the LOOPING project 2009-2010.

The basic structure is now set. We started to fill the pages for each participant in a collaborative manner.Within the next days they will be completed !

Have a look every now and then and feel free to give feedback to loopingdance2010@googlemail.com .

Thank you for your visit !

Doreen & the LOOPERS

Ligía Teixeira (P)

Hélène Sorin (F)

Susanne Ogan (D)

Joana Ventura (P)

Emmie Cacace (F)

Doreen Markert (D)

Since 2007, Doreen Markert works freelance behind the scenes of contemporary dance productions - focusing on Public Relations, Fundraising and Management. Additionally, she is a project manager in the Department for Digital Media and Education at the University of Potsdam, Germany. Both fields are knotted through her interest in social media, collaborative settings, networking, open education and changing work methods and life styles in the contemporary global village.

Between 2007 and 2009, Doreen has been a PR manager for performing arts productions at Tacheles Berlin, there working for Christoph Winkler, wee dance company, NORDWIND FESTIVAL, Régine Chopinot, HelsinKISSBerlin Festival, Howard Katz, Tomi Paasonen, Melanie Lane and others. At the same time, she realized specific PR campaigns for Nomade~s|Japanese Contemporary Dance, Giacomo Calabrese, Norman Douglas & Co., Anna Melnikova and Grinberg Method Berlin.

Meeting American choreographer Clint Lutes in 2008 sparked the beginning of an inspiring working partnership that has culminated in mutual productions and projects. Moreover, Doreen joined LUCKY TRIMMER in 2008, taking charge of PR and Management for this choreographic platform initiated by Clint Lutes.

In 2010, TanzWerkstatt Berlin elected Doreen for the LOOPING project of the European Commission, working as cultural manager for Melanie Lane’s new production “Tilted Fawn” which will be presented at TANZ IM AUGUST in Berlin and elsewhere. Furthermore, Doreen is coordinating all six LOOPING productions in terms of public relations activities for TANZ IM AUGUST 2010.

Kontakt: doreen_markert [ @ ] yahoo.de
http://enthusiasticencounters.wordpress.com

What is Looping ?

...extented information...

In October 2008, the LOOPING projects, registered by Uzès danse, was selected by the European Commission within the framework of its Culture 2007-2013 program, a program which funds cultural cooperation initiatives.

This project was designed in collaboration with two co-organizers: the TanzWerkstatt Berlin and the O Espaço do Tempo à Montemor-o-Novo from Portugal, who contribute to project funding, and a partner, the Kanuti Gildi SAAL from Estonia, whose premises are available for residences.

LOOPING has a two-year objective of supporting creations by twelve emerging choreographers, from six different countries: France, Germany, Portugal, Estonia, Romania and Turkey, by working with them throughout the creative process, from research on to production of the work, and beyond, to its diffusion. Technical, financial and administrative resources are provided to the selected choreographers to enable them to create a short, 30-minute work.

Cycles of residences are organized in each of the six partner countries, to enable the artists to work on their creations, with support and feedback from dramatists and playwrights (philosophers, university professors, artists, theoreticians …) who will bring their opinion to bear on the work, providing an objective gaze, criticism and training.

At the same time, young production administrators will be trained, in order to ensure structural aspects to develop alongside the young choreographers.

The works created will be performed during the seasons and festivals organized by the three partner structures.

Sandra Z. (EST)

 
It's time

choreography... Sandra Z.
interpretation... Sandra Z. & Alissa Šnaider
music... Taavi Tulev/ Wochtzchee
costume designer... Tuuli Antsov
production... Kanuti Gildi SAAL
duration... 30 min.

A physical theatre/contemporary dance performance were we’ll try to capture the dynamics of a concert - a musical masterpiece, like Vivaldi « The 4 seasons ». After a concert you never ask what it was about or why one harmony follows another the way it did : no social or political plot, all the visual effects are strictly personal and undescribable in any other way. It’s time. It’s time to notice. It’s time to notice others.

Ayşe Orhon (TUR)

 
hava’nın a’sı - [a:] of air

choreography and performance... Ayse Orhon
artistic assistance... Ayse Draz, Ahmet Altınel
light design... Jiv Wagner
duration... 30 min.
thanks to... Gülsün Orhon, Aslı Mertan, Bülent Aksoy, Ömer Aygün, Nik Haffner, Gurur Ertem, Çatı (Contemporary Dance Association), CNDC Angers, GarajÎstanbul

« After the performance piece harS -a duet with a harp- I remembered my past engagements in music. Especially the musical days of my childhood that family and friends would gather to play and sing together Turkish Classical Music, every two weeks for many years. Different “Gazel’s” -a form of writing in literature which is also a form of music- fascinated me in the detail they contain within and the melancholy they carry. I wanted to explore the interrelation between voice/sound and movement, how their shapes effect each other and study the use of air as the carrier of sound as well as of movement. This is an attempt to expose how the air is transformed within the body to render visible what is invisible. »

H. Heisig/I. Mueller/N. Lucas (D)

 
What comes up / must go up

choreography and interpretation... Hermann Heisig, Irina Mueller & Nuno Lucas
artistic advisor... Miguel Pereira
duration... 30 min.

What comes up/must go up puts human desires for growth, expansion and progress into a circus atmosphere. Three people create a continuous movement of extraordinary optimism constantly having to keep things up, keeping it moving. They put themselves in a situation where no failure is possible. Embracing cheating and extra effort, they try to avoid that something goes down, gets less, fails or falls. How to bridge elegantly the embarassment that could follow a failure? How to make things go up again, as if they never fell?

Ana Catalina Gubandru (RO)

 
I don't know, I've never been here before

concept and interpretation... Ana Catalina Gubandru
artistic advisor... Geneviève Vincent
duration... 30 min.

The idea behind this creation comes from the expression « mind the gap » (message heard in the British underground). Ana Catalina Gubandru seeks to question the notion of space, of space between : the gap between people, between the artist and his public, the space between anything and anything else. How can movement fill or on the contrary deepen this space, how can it be measured ?

Sofia Dias & Vítor Roriz (P)

Unfolding


concept and performance | Sofia Dias & Vítor Roriz
original sound | Sofia Dias
text | Sofia Dias & Vítor Roriz, partly based "On the shortness of life" by Seneca (4 BC – 65 AD). Spoken in English.
scenography | Sofia Dias & Vítor Roriz
light design | Nuno Borda de Água
production | O Espaço do Tempo, Sofia & Vítor
with thanks to | Anatol Waschke, Meg Stuart, Maria Ramos

Unfolding was started in the context of project Looping. During Looping, Unfolding had the collaboration of Joclécio Azevedo and the production assistance of Lígia Teixeira.

lenght | aprox. 24 min.

Unfolding is the action of disclosing, of gradually revealing something. A mysterious moment is implicit : expectations rise as the object is uncovered. In the moment just before the object is recognized we attempt to postpone revelation and prolong our expectations. The body, in its imminence of revelation, assumes the dimension of our imagination and experiences a metamorphosis.

current presentations | 2011:

* Negócio ZDB (Lisbon/28, 29, 30 April 2011)

past presentations | 2009 - 2010:

* Circular Festival (Vila do Conde, PT/Oct 2010).
* Festival Materiais Diversos (Minde, PT/Sept 2010).
* Appleton Square (Lisbon, PT/Oct 2009).
* Tanz im August (Berlin, DE/Aug 2009).
* Festival UZÈS DANSE (Uzès, FR/Jun 2009).
* Black Box, O Espaço do Tempo (Montemor-o-Novo, PT/Jun 2009).
* CEA/CPAI - Fábrica da Pólvora (Oeiras, PT/Apr 2009).

About their collaboration

Sofia Dias and Vítor Roriz collaborate since 2006. Until now, they have presented: 25, Visegradska (2006); Under(the)line (2006); Sand Castle (2007), Involuntariamente (2007), Again from the beginning (2009), Unfolding (2009) and O mesmo mas ligeiramente diferente (C.Instável 2010). Their works have been presented in Portugal, Spain, Switzerland, France and Germany. They are associated artists from O Espaço do Tempo and count on the regular support of Bomba Suicida.

Unfolding is available for touring

please contact:
sofiadiasvitorroriz@gmail.com
+351 919 446 598 | +351 934 173 106

+ info | www.sofiadiasvitorroriz.blogspot.com

Elsa Decaudin (F)

 
Liki

dance and direction... Elsa Decaudin
photography... Bastien Defives
music and light... Jean-Philippe Lambert
the soundb1ts dispositif for the sound field design (version 10)... Norbert Schnell, Emmanuel Flety et Jean-Philippe Lambert (Interactions Musicales Temps-Réel IRCAM - Centre Pompidou)
realization... PULX à la Tannerie
artistic advisor... Jutta Hell
thanks to... Robin Minard, Roland Cahen, N-ZO
duration... 40 min.

Liki is an invitation to the travel, the élan and the roving. As a score for three interpreters and their mediums, the piece plays with dance, slide show, music and a special sound field design. The multiplicity of the crossing stimuli trains urgently the spectator to see, to hear and to live the movement, as an immobile traveller in his own perception. Liki offers a panel of sensation, an intensity continuum until the final experience of the inertia.

Marko Milic (SRB)

 
SERIES

conception... Marko Milic´

collaboration... David Wampach

artistic advisor... Martine Pisani

adviser... Andreja Siroki

sound... Dusan Brocic

supported by... CCN de Franche-Comté à Belfort

duration... 25 min.

The main drive for this dance is inspired by the idea of possession. Marko Milic wants to propose very vivid dancing, almost like the dancer is connected to high voltage electricity and cannot stop, similar to trance parties. His interest is what can be the source or a motive, that push the movement to be fanatical. The starting point was spiritual séances where dance was used as a tool for presenting the communication with spirits and transmitting the message to followers.

Nele Suisalu (EST)

concept/choreography/performance...Nele Suisalu
artistic advise, sounds and stage...Florent Hamon
assistance...Madli Teller
artistic consultation...Latifa Laâbissi
music by street musicians in the subway of Paris
duration...30'

This piece was inspired by sleep. By the fact that the actual location of a sleeping body becomes unimportant for its owner. A sleeping body/person has an existence that is out of control and out of context (disconnected from the actual surroundings). Thus the sleep can be imagined as a location that eliminates every other physical location and becomes the essential location. While sleeping we are consumed by our necessity to recycle, rebuild and re-organize ourselves in order to continue functioning while awake in the over-connected everyday reality. Sleep is our ultimate home. Home that we can't leave, rent or sell.

This body on stage displaces itself throughout a series of recycled (everyday and performative) materials. Following these actions, it tries to rebuild and re-organize itself in order to continue performing.

Its nowhere-arrivals are accompanied by the mechanical and mental sounds of changing places: by a subway-musicians' hit-parade and by an elderly voice anchored in its monologue of memories.

Equilibrium of a flying airplane: speed vs gravity.

Nele Suisalu, June 2010

Read more:

Notes of Intentsions / Background

Haruki Murakami "Sleep" (exerpts)

Performing Dates
June 16, 2010 | Festival Uzès Danse, Uzès - France
August 31, 2010 | Tanz Im August, Berlin - Germany
September 2010 | O Espaco do Tempo, Montemor - Portugal
October 27-29, 2010 | Kanuti Gildi SAAL, Tallinn – Estonia

Contact
nomadact.contact@gmail.com / www.nomadact.com

Victor Hugo Pontes (P)

 
Rendez-vous

choreography... Victor Hugo Pontes
interpretation... Hélder Seabra,Victor Hugo Pontes
music... Rui Lima, Sérgio Martins
light design and technical direction... Wilma Moutinho
artistic advisor... Madalena Alfaia
costume design... Osvaldo Martins
artistic consultation... José Capela
production... Joana Ventura
coproduction... Centro Cultural Vita Flor
duration... 30 min.

In the world we live, to speak about divergence and deviation from each other’s course of life is mere common place. At Rendez-vous the cliché will be buried in order to talk about epiphanies: how do we reach the person or the things we encounter. The point of departure is the accomplished act, the step taken.

Begüm Erciyas (TUR)

 
Ballroom

choreography... Begüm Erciyas
created with... Ewa Bankowska, Jenny Beyer, Sigurdur Arent Jonsson
performance... Ewa Bankowska, Begüm Erciyas
sound... Jetzmann
coproduction... K3 - Center for Choreography | Tanzplan Hamburg
in cooperation with... Bimeras (Istanbul)
thanks to... Bojana Kunst, Valentina Desideri, Paula Caspao, Sweet and Tender Collaborations
duration... 30 min.

"Ping pong balls have mostly similar physicalities. They can take distance, by rolling along the floor, by flying in a curve-like movement or by leaping through the space. Once dropped from 30 cm they only rise up 23 cm. On each bounce the height decreases according to this coefficient, until they cannot rise off the floor anymore. They are highly dependent on the strength of the initiating force that gives them the strength to fight friction. Eventually, due to the friction between them, the ground and the air, they come to a stop. Once they are in groups they behave unpredictably, and, sometimes, they deviate from their original trajectory."

B. Erciyas

LINK TO VIDEO

Notes of Intention / Background

When I was a little girl I was absolutely convinced that every evening, just before I fell asleep, someone was telling me stories. Naturally, I was the heroine, but never was I as beautiful as I was strong. Never a princess waiting for her prince. There was no sleeping forest either, only labyrinths of tubes. But I always found my way out of them.

I have been trying so hard to remember what the voice sounded like. At the same time, it is highly possible that I am merely watching a screensaver on my computer.

“Privacy is dead! Get over it!” says a private detective on CNN. They are talking about internet again and I get to the conclusion that the only home, as the root and the reflection of a person's identity, resides in his sleep. There is the only 'here' that truly belongs to the person dreaming of it, even if it is not real. At least it is not virtual either: not uploaded nor downloaded.

There is no specific 'here' when people are awake. Everywhere is here at the same time. In this reality of Facebook/Twitter/etc the physical place is the less important. To let the others know that we are or will be 'there' is more important than to actually be or go somewhere.

A chronicle of the nowhere-arrivals. Regular changes of the content of a suitcase, dreams of/in the trains, turbulence, anxiety about the changes in the travel schedule, asking someone to post the left-behind things. No-time-adaptation, being away, never returning, tiredness of unknown, homesickness, homelessness. Joy of meeting new faces, inability to remember the names. No habits, feeling of freedom, routine of changes. Being contaminated by others or occasionally fighting for staying who I was. Homelessness-sickness. Tensions between here and there.

By virtue of the everyday virtual practices, a lot of the relationships between people are involuntary, almost passive. They exist almost despite of them and thanks to the external virtual something connecting them.

May I have your address? I might want to send you a postcard.

Persons as consistent entities seem to be dissolving into this over-connected reality. A person is stretched out by his networks. His identity finds itself suddenly “homeless”. In this context, the 'I' (me) stands only for individualism, but is fulsomely meaninglessness in its incoherent personal story. No time for a synthesis. People are fantastic monsters with several heads, using the one that is the most suitable for the situation speeding by. They are continuously overcoming the conflict between the galloping everyday life and the eternal slowness of habits, traditions and spirituality.

Is this a freedom or an exile?

Being overwhelmed. The only actions - I can carry out - are my fantasies.

This is an attempt to circulate between 'here' and 'there' that might end up being interchangeable. Could that mean staying put? To play with the time that is measurable by instant-messaging and by the growth of a tree. To concentrate oneself in a situation that Miguel Benasayag has described as “when everything becomes possible, nothing is possible anymore”.

Thus I am seeking for the equilibrium of a flying aeroplane: speed versus gravity.

Jean-Baptiste Bonillo (F)

Palimpseste

Conception/Performance... Jean-Baptiste Bonillo
Collaboration... Mélanie Nézereau-Paquemar, Mathilde Duclaux
Video/Sound... David LePôle
Lights... Guillaume Luquet
Artistic advisor... Bart Van den Eynde
Duration... 30 min.

The palimpsest refers to a parchment whose first writing was erased and on which we wrote again.What is the human body other than a universal and natural palimpsest ? It is in this sense that Jean-Baptiste Bonillo explores the body’s memory. "Palimpseste" stripped bare, literally and figuratively, queries the body-control and ability to reveal its own History through the use of hypnotic processes.The utilisation of live hypnotic procedures on stage and the creation of spaces – through specific video editing that's manipulated unto its textual body- infuses a possibility of creation where everything is mixed. From this clash and these "art ifacts" derives a spectacular dimension which contributes to an intimate search for a profound and universal part of us.

Le palimpseste désigne un parchemin dont la première écriture a été effacée et sur lequel on a écrit à nouveau.Qu’est-ce que le corps humain sinon un palimpseste universel et naturel? D’innombrables informations se sont gravées successivement sur le palimpseste de notre corps ; leurs couches incessantes se sont accumulées et se sont, chacune à leur tour, recouvertes d’oubli. Elles ne sont pas mortes, elles dorment...
« Palimpseste » est une mise à nu au sens propre comme au figuré qui interroge le corps-témoin et sa capacité à nous révéler son histoire. C’est en ce sens que Jean-Baptiste Bonillo explore la mémoire du corps. L’utilisation de procédés hypnotiques facilités en live et la création d'espaces d'édition de la vidéo, manipulés au sein de son corps textuel, insuffle une possibilité de création où tout se mélange. De ce télescopage et de ces « artefacts » naît une dimension spectaculaire qui contribue à une recherche de l'intime et de la part d'universel en chacun de nous....

Cie Post Partum/Post Partum Company

Created by Jean-Baptiste Bonillo in 2000, Cie Post Partum offers an approach halfway between contemporary dance and performance. The artistic project presents itself in the form of laboratories on stage, in which the dancers explore their physicality and the exceeding of their limits. The choreographic work he developed is a construction in reaction to education in the family or in art which opens up the issues of identity

Créée par Jean-Baptiste Bonillo en 2000, la Compagnie Post Partum propose une démarche à mi-chemin entre la danse contemporaine et la performance. Le projet artistique se présente sous forme de laboratoires, au sein desquels les danseurs explorent physicalité et dépassement de leurs limites.. Le travail chorégraphique ainsi développé, s'est construit en réaction à l’éducation familiale ou artistique et creuse la problématique de l’identité.

Post Partum's productions focuses on the limitations encountered by each individual, induced by education, learning, society and any other external codes of an individual. The interest of Jean-Baptiste Bonillo is the emotional dynamics,which has a direct bearing on his artistic concept and design. «The emotional» has its place in the projects that have been leading until now. These dynamics have influenced and created the theatrical and energetic dimension of the productions. Jean-Baptiste Bonillo tries to assert his desire for the detachment of codes: primarily going where the dancing body is unexpected to go, jostling our ways of representation. The viewers are invited to get involved otherwise, in a stage setting that allows new points of view and offers the opportunity to position themselves to interact with what is given to live or feel.

Les projets conçus s’intéressent aux limitations rencontrées par chacun, induites par l’éducation, l’apprentissage, la société et tout autre code d’autorité extérieure à l’individu. L’intérêt que porte Jean-Baptiste Bonillo à la dynamique émotionnelle a une incidence directe sur sa conception artistique. « L’émotionnel » prend alors une place dans les projets qui ont été menés jusqu’à maintenant. Cette dynamique crée et alimente une dimension théâtrale et performative des productions. Jean-Baptiste Bonillo tente d’affirmer ainsi son désir de détachement des codes : Il s’agit avant tout d’aller là où le corps dansant n’est pas attendu, là où sont bousculés nos modes de représentation. Le spectateur est invité à s’investir autrement, dans un dispositif scénique qui offre de nouveaux points de vue et la possibilité de se positionner de façon interactive par rapport à ce qui est donné à voir, à vivre ou à ressentir.

CONCERNING PALIMPSESTE / A PROPOS DE PALIMPSESTE (synopsis2)

A man writes on aboard, a man writes with a black marker on a white-board. (Image of the child sitting behind a table at school, no lesson is learnt, not one explanation). he writes about non-normative thoughts, thoughts of emotions with abusive content (one could read «no incest»). the white-board’s surface is like the skin of a body on which we write our experiences. (An intimate scene : how do we return to a body in which the confidence and trust of the child has been lost?). accountable or exposure of a search for meaning (The school as our first theatre?). playing on the fiction of waiting parents (having a girl) this man, summoned by experience implies that he has a double presence (Even more disturbing to our senses). A series of proposals that the body (nudity) searches for its anchoring quite close to the surface, plastic, strange. these lines could make you imagine a stressful job, exposure to a flood of suffering, (or the denial or anger that might work). but it is the art that works and acts on the domains to which one belongs, these bodies on scene, one of the kinésiologie the other, the hypnotist ericksonienne. they go through different ways of contact with the public. here the performance of words and of dance are imperfect, though this is a suggestion that the proposal could belong to these two domains. (I prefer the term “experience”). this is a re-presentation. one man wrote on a blackboard and the things he has written are harsh. he looks at us (demanding empathy?) writing on the body, writing with the body. testify. He returns naked with very long hair, he plays with his image, real and virtual. without revealing the depths of the body, (the singular contact is on us, the memory of our failures or protection) and by the use of a voice we slip into other states of consciousness. this memory of the skin demands a place, not to be recognised but to allow a possible future (a future of possibilities?) (and reconciliation).our body does not belong to our ancestors or our family...

Un homme écrit sur un tableau. Un homme écrit au feutre noir sur un tableau blanc (Image de l'enfant devant un tableau à l’école ; pas une leçon apprise, pas plus une explication). il écrit des pensées non normatives, les pensées d’émotions d’un abus contenu. (On pourrait lire «pas l’inceste»). la surface du tableau comme la peau d’un corps ou s’inscrivent nos expériences (Scène intime. Comment revient-on d’un corps où la confiance de l’enfant s’est perdue) compte à rendre ou exposition d’une recherche de sens (L’école serait elle notre premier théâtre?) jouant sur la fiction de l’attente des parents (avoir une fille), cet homme convoque par l’expérience qu’il propose une double présence (Bien mieux troubler nos sens), une suite de propositions de corps qui (nudité) cherche son ancrage au plus près de la surface, plastique, étrange. ces lignes pourraient vous faire imaginer un travail éprouvant d’exposition crue de la souffrance, (Ou le déni ou la colère qui pourrait opérer) mais c’est l’art qui travaille et agit sur les domaines auxquels appartiennent ces corps sur scène, l’un de la kinésiologie l’autre, l’hypnose ericksonienne. ils passent par d’autres chemins de contacts avec le public. ici les mots de performance, ou de danse sont imparfaits bien que cette proposition pourrait appartenir à ces deux domaines. (Je préfère le terme d’expérience). il s’agit d’une re-présentation. un homme a écrit sur un tableau et les choses qu’il a écrites sont dures. Il nous regarde (demande d’empathie?). Ecriture sur le corps, écriture par le corps. Témoigner. Il reviendra nu avec des cheveux trop longs, il jouera de son image, réelle et virtuelle. et sans révéler les mises en abîmes du corps, (le contact singulier est en nous la mémoire de nos défaillances ou protections) ou par le travail de la voix nous glissons vers d’autres états de conscience. cette peau de mémoire demande une place; pas pour être reconnue mais pour laisser un futur possible (et réconcilié). 

(texts by Daniel Larrieu)

Haruki Murakami "Sleep" (exerpts)

This is my seventeenth straight day without sleep.

I'm not talking about insomnia. I know what insomnia is. I had something like it in college - “something like it” because I'm not sure that what I had then was exactly what people refer to as insomnia. I suppose a doctor could have told me. But I didn't see a doctor. I knew it wouldn't do any good. Not that I had any reason to think so. Call it woman's intuition – I just felt they couldn't help me. So I didn't see a doctor, and I didn't say anything to my parents or friends, because I knew that that was exactly what they would tell me to do.

Back then my “something like insomnia” went on for a month. I never got any sleep that entire time.

…

In any case, what I have now is nothing like that insomnia, nothing at all. I just can't sleep. Not for one second. Aside from that simple fact, I'm perfectly normal. I don't feel sleepy, and my mind is as clear as ever. Clearer, if anything. Physically, too, I'm normal: My appetite is fine; I'm not fatigued. In terms of everyday reality, there's nothing wrong with me. I just can't sleep.

…

After my husband goes back to the office, I take a bathing suit and a towel and drive to the neighbourhood athletic club. I swim for half an hour. I swim hard. I'm not that crazy about the swimming itself: I just want to keep the flab off. I've always liked my own figure. Actually, I've never liked my face. It's not bad, but I never really liked it. My body is another matter. I like to stand naked in front of the mirror. I like to study the soft outlines I see there, the balanced vitality. I'm not sure what it is, but I get the feeling that something inside there is very important to me. Whatever it is, I don't want to lose it.

…

I'd sometimes wonder what kind of life this was. Which is not to say that I found it empty. I was – very simply amazed. At the lack of demarcation between the days. At the fact that I was part of such a life, a life that had swallowed me up so completely. At the fact that my footprints were being blown away before I even had a chance to turn and look at them.

Whenever I felt like that, I would look at my face in the bathroom mirror – just look at it for fifteen minutes at the time, my mind a total blank. I'd stare at my face purely as a physical object, and gradually it would disconnect from the rest of me, becoming just some thing that happened to exist at the same time as myself. And a realization would come to me: This is happening here and now. It's got nothing to do with footprints. Reality and I exist simultaneously at this present moment. That's the most important thing.

But now I can't sleep anymore. When I stopped sleeping, I stopped keeping a diary.

…

I went through the motions – shopping, cooking, playing with my son, having sex with my husband. It was easy once I got hang of it. All I had to do was break the connection between my mind and body. While my body went about its business, my mind floated in its own inner space.

…

After I gave up sleeping, it occurred to me what a simple thing reality is, how easy it is to make it work. It's just reality. Just housework. Just a home. Like running a simple machine.

…

One afternoon, I went to the library and read some books on sleep. The few books I could find didn't tell me much. …

One book did have a fascinating point to make. The author maintained that human beings, by their very nature, are incapable of escaping from certain idiosyncratic tendencies, both in their thought processes and in their physical movements. … In other words, people live in the prison cells of their own tendencies. What modulates these tendencies and keeps them in check – so the organism doesn't wear down as the heel of a shoe does, at a particular angle, as the author puts it – is nothing other than sleep. Sleep therapeutically counteracts the tendencies. In sleep people naturally relax the muscles that have been consistently used in only one direction; sleep both calms and provides a discharge for thought circuits that have likewise been used in only one direction. This is how people are cooled down. Sleeping is an act that has been programmed, with karmic inevitability, into the human system, and no one can diverge from it. If a person were to diverge from it, the person's very “ground of being” would be threatened.

“Tendencies?” I asked myself.

The only “tendency” of mine that I could think of was housework …

Sitting at the library table, I shook my head.

I'm through with sleep! So what if I go mad? So what if I lose my “ground of being”? I will not be consumed by my “tendencies”. If sleep is nothing more than a periodic repairing of the parts of me that are being worn away, I don't want it anymore. I don't need it anymore. My flesh may have to be consumed, but my mind belongs to me. I'm keeping it for myself. I will not hand it over to anyone. I don't want to be “repaired”. I will not sleep.

I left the library filled with new determination.

…

I wondered how many days it had been since I stopped sleeping. The sleeplessness started the Tuesday before last. Which made this the seventeenth day. Not one wink of sleep in seventeen days. Seventeen days and seventeen nights. A long, long time. I couldn't even recall what sleep was like.

I closed my eyes and tried to recall the sensation of sleeping, but all that existed for me inside was a wakeful darkness. A wakeful darkness: What it called to mind was death.

Was I about to die?

…

This is biologically unnatural. I suppose, but who really knows what is natural? They just infer it inductively. I'm beyond that. A priori. An evolutionary leap. A woman who never sleeps. An expansion of consciousness.

I have to smile. A priori. An evolutionary leap.

Haruki Murakami, p. 73-110, in "The Elephant Vanishes", Vintage 2003

Melanie Lane (D)

Tilted Fawn

A solo performance from Melanie Lane
with sound installation from CLARK

Concept/Choreography/Dance...Melanie Lane
Sound Composition and Installation...Chris Clark
Artistic Collaboration...Morgan Belenguer
Dramaturgy...Bart Van de Eynde
Duration...25 mins

The history of a person is documented in endless forms. Through sound, words and images, we can glimpse an imagined narrative of our past. Yet the past is immoveable, unknowable, ever elusive and often challenging to confront. Imagine if the power to change or manipulate our personal histories existed.

Through the performers dialogue with documented sound history and anonymous objects, an environment is constructed in which one is confronted with the merging of two worlds; past and present. Here the environment takes on a role of power. It gives the opportunity to consider one's history and reflect on the possibilties of how our imagination can twist the reality of our past. From this experience there is a window of opportunity opened up to another dimension...a world of illusion and fantasy.

In collaboration with reknowned electronic music artist CLARK (Warp records UK), Melanie and CLARK continue their working partnership for the second time after the successful production 'HELD' in collaboration with Morgan Belenguer (2008), this time developing a sound installation that is composed in co-ordination with objects and choreography in space. The sound is comprised of audio documentations, an ecclectic range of events that transform and influence the environment.

In the intimacy of a solo performance, 'Tilted Fawn' builds a universe that offers a dialogue between fantasy and reality through sound and movement. It brings to the surface images that are absurd, dark, light and other-worldly.


Performing Dates
June 15, 2010 | Festival Uzès Danse, Uzès - France (Premiere)
August 30, 2010 | Tanz Im August, Berlin - Germany
September 17 & 18, 2010 | O Espaco do Tempo, Montemor-o-Novo - Portugal

Contact
Artistic Direction
Melanie Lane
melalane [ @ ] googlemail.com
Production Manager & PR
Doreen Markert
doreen_markert [ @ ] yahoo.de

Links

www.melanielane.info
www.morganbelenguer.net
www.myspace.com/throttleclark
www.myspace.com/projectwan
www.warp.net


Further posts about Melanie's production in this blog...

LOOPING Blog takes form...

Here is a first draft of the blog for LOOPING 2010 !

Please don't hesitate to send your critical feedback regarding structure, layout etc. to
doreen@luckytrimmer.de

As soon as the basic structure is set up, you are invited to include your own content and the blog can go online.

Cheers,
Doreen

Introducing the managers...

Six cultural managers have been selected in order to support the LOOPING choreographers in terms of production management, public relations etc.
Moreover, they get the chance to gain valuable insights into the work of the LOOPING partner organisations and get to know the local dance scene in different European cities.

The managers of the LOOPING productions 2010...

Emmie Cacace (France)
working with Jean-Baptiste Bonillo

Doreen Markert (Germany)
working with Melanie Lane

Joana Ventura (Portugal)
working with Victor Hugo Pontes

The managers of the LOOPING productions 2009...

Susanne Ogan (Germany)
working with Hermann Heisig / Irina Mueller / Nuno Lucas

Hélène Sorin (France)
working with Elsa Decaudin

Ligía Teixeira (Portugal)
working with Sofia Dias & Vítor Roriz

Disclaimer

LOOPING is a project developed by Uzès danse CDC, with the partnership of TanzWerkstatt Berlin and O Espaço do Tempo. The project has been funded with support from the European
Commission. This blog reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

Melanie Lane's Biography

Melanie is a choreographer/dancer currently based in Berlin. After graduating from the Western Australian Academy of Performing Arts, she travelled to Europe working with a number of choreographers and companies such as Club Guy and Roni (Holland), Tino Seghal (Berlin), Jan Pusch (Hamburg), Kobalt Works (Belgium) and Tanztheater Osnabrueck.

Since 2005 she has been an Artist-in-residence at Dock 11 studios Berlin and has created a number of works collaborating with artists such as musician Chris Clark, video duo Photone and Film makers Eva S.Aridjis and Timo Schierhorn. In 2009 she has taken part in choreographic projects at the Festival Collines, St.Etienne as well as with Antony Hamilton in residence at Radialsystem, Berlin.

She has established a working partnership together with choreographer/visual artist Morgan Belenguer, producing two creations RIDDLE and HELD in which they have developed an ongoing investigation utilising objects, film and architecture in space.

Melanie has most recently completed two research and development projects with Sydney Dance Company members and in Perth with independent artist Paea Leach, as well as creating a new work for the Western Australian Academy of Performing Arts.

CALENDAR

The LOOPING pieces in 2010 will be presented as follows...

O Espaço do Tempo (Part I)

June 11 2010
Begüm Erciyas: Ballroom (Premiere)
Jean-Baptiste Bonillo: Palimpseste (Premiere)

June 12 2010
Victor Hugo Pontes: Rendez-vous (Premiere)



Festival Uzès Danse

June 14 2010
Jean-Baptiste Bonillo: Palimpseste
Begüm Erciyas: Ballroom

June 15 2010
Melanie Lane: Tilted Fawn (Premiere)
Marko Milic: SERIES (Premiere)

June 16 2010
Nele Suisalu: Home (Lessness) Sickness (Premiere)
Victor Hugo Pontes: Rendez-vous



Tanz Im August

August 29 2010
Begüm Erciyas: Ballroom
Victor Hugo Pontes: Rendez-vous

August 30 2010
Melanie Lane: Tilted Fawn
Marko Milic: SERIES

August 31 2010
Nele Suisalu: Home (Lessness) Sickness
Jean-Baptiste Bonillo: Palimpseste


O Espaço do Tempo (Part II)

September 17 & 18 2010
Melanie Lane: Tilted Fawn
Marko Milic: SERIES
Nele Suisalu: Home (Lessness) Sickness


For detailed informations regarding tickets, reservations etc., please visit the websites of O Espaço do Tempo, Festival Uzès Danse and Tanz Im August.


Festival Materiais Diversos

September 18 2010
Sofia Dias & Vítor Roriz: Unfolding
+ info

Circular Festival

October 2 2010
Sofia Dias & Vítor Roriz: Unfolding
+ info

WHAT IS LOOPING ?

LOOPING is producing 12 shorter works by young choreographers in 2009 and 2010. Young cultural managers will be engaged in order to ensure structural aspects alongside the selected choreographers. Cycles of residencies are organized in each of the six partner countries in Europe. The created pieces will be finally shown at the Uzès Danse Festival (France), O Espaço do Tempo in Montemor-o-Novo (Portugal) and Tanz im August in Berlin (Germany).

LOOPING is funded by the Culture Programme of the European Union. The project has been developed by Uzès danse CDC, with the partnership of TanzWerkstatt Berlin and O Espaço do Tempo, in cooperation with partners in Estonia, Romania, Serbia and Turkey. 

This blog has been initiated and created with the support of Doreen Markert and TanzWerkstatt Berlin. Its basic idea is a collaborative online platform for LOOPING implemented by the LOOPING participants.  

EXTENDED INFORMATION ABOUT THE LOOPING PROJECT