09 August 2010
17 May 2009
WHEN DUCK AND DEATH DANCE - in front the final curtain / 3rd may - 10th may 2009
a working station in vienna and graz. we began to work on a new piece, starting by reading the book: Duck, Death and the Tulip by Wolf Erlbruch. nevertheless we are taking our own road to talk about Death. the reading of the book also generated two other artifacts: a short film and picture's section by bjarte blixt. the pictures can be seen at: photos
WHEN DUCK AND DEATH DANCE
(TITLE OF THE WORK IN PROGRESS)
stracts of a reflection by Johannes Schrettle
"... i am thinking of the title again and i have the association of a murderer who is playing with his victim, even if he would not need to do it. he could simply wait till the duck approaches him and he could eat her with pleasure. but maybe he does not even want that, maybe he wants something else? maybe he wants to develop a new relationship, and, for himself, he wants to be something else than death?
... if i think about it afterwards. though, riven."
11 April 2008
WORKING STATION oslo, march 2008: "several feet under water"
RE-ELABORATION OF THE LABORATORY
8 scores developed into 10 scores
OPENING LABORATORY
. exchange of work with the actress Electa Behrens
. a open laboratory session witnessed by Bjarte Blixt
VIDEO EXPERIENCE
with Tor Lie
WORKSHOP
3 days open workshop
08 April 2008
words on several feet under water & death: by branco
a journey towards death
to enter a map of scores is to look into the unknown, encountering death as renovation of power, vitality, awareness and creation. Taking the curiosity as the punching motor to find other possibilities apart from the ones I know. If I am able to dare to die, each day, every day and trust that the floor is my support to bounce out and fly, I allow danger to come closer and find other ways of responding to it.
To walk the path of death facing it, allows oneself to loose all, accepting other entities to arise and talk through. Entities which are nothing more then different dynamic qualities of oneself. Unfolding oneself to encounter those qualities and take them in a hand, as the rider does with the horse. If one let it go, the horse will take over. If one does not shows the way to the horse, it might stay eating the best grass. When rider and horse are one, the ride itself is both. Then one can take from the experience and learn how to let the body remember it. Learn how to register the experience itself. Then let it go. It is gone. It must be.
I allow coming the one I do not know that I know, yet I am.
to enter a map of scores is to look into the unknown, encountering death as renovation of power, vitality, awareness and creation. Taking the curiosity as the punching motor to find other possibilities apart from the ones I know. If I am able to dare to die, each day, every day and trust that the floor is my support to bounce out and fly, I allow danger to come closer and find other ways of responding to it.
To walk the path of death facing it, allows oneself to loose all, accepting other entities to arise and talk through. Entities which are nothing more then different dynamic qualities of oneself. Unfolding oneself to encounter those qualities and take them in a hand, as the rider does with the horse. If one let it go, the horse will take over. If one does not shows the way to the horse, it might stay eating the best grass. When rider and horse are one, the ride itself is both. Then one can take from the experience and learn how to let the body remember it. Learn how to register the experience itself. Then let it go. It is gone. It must be.
I allow coming the one I do not know that I know, yet I am.
27 March 2008
about several feet under water & stowaways : comments by hase
several feet under water is a laboratory and artist-encounter between Hase and Branco. we focus on the motion beyond the edges of the body: the unmet bodies.
we look for the musical dramaturgy of 'migrating body cells' inside different settings of our work, always aiming to give birth to a fusion between a known and an unknown element of our tools.
we direct chaotic patterns and reposition ourselves. each content in discourse is transforming the premises. it is an ongoing repositioning of single body-cells, while we look each other as a human being playing.
the body-land is changing with the movement of its migrants. we call a group of body-cells who appear as a shadow penetrating for speech: stowaways.
while already functioning as part of the political landscape these stowaways seem not to be quite fully recognized as a political subject.
the moment they cross the border, they are already inside the constitution of the land.
HELLO
movement and sound is unauthorizable because it cannot be manifested. it is always in the process of construction: the longing, the memory inside a movement, a text, a sound, a song or stillness.
several feet under water is like a global city reconfiguring a partly denationalized space that enables a partial reinvention of citizenship.
in ist essence, it is a redefinition of citizenship itself.
we look for the musical dramaturgy of 'migrating body cells' inside different settings of our work, always aiming to give birth to a fusion between a known and an unknown element of our tools.
we direct chaotic patterns and reposition ourselves. each content in discourse is transforming the premises. it is an ongoing repositioning of single body-cells, while we look each other as a human being playing.
the body-land is changing with the movement of its migrants. we call a group of body-cells who appear as a shadow penetrating for speech: stowaways.
while already functioning as part of the political landscape these stowaways seem not to be quite fully recognized as a political subject.
the moment they cross the border, they are already inside the constitution of the land.
HELLO
movement and sound is unauthorizable because it cannot be manifested. it is always in the process of construction: the longing, the memory inside a movement, a text, a sound, a song or stillness.
several feet under water is like a global city reconfiguring a partly denationalized space that enables a partial reinvention of citizenship.
in ist essence, it is a redefinition of citizenship itself.
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