In his latest choreographies, William Forsythe pushes Adolphe Appia’s ideas on presentation and stage design to their very limits. The soundscapes and the dancers picked out with light create a space without a single extraneous object to divert the audience’s attention from the key elements. Jan Martens’ works, too, concentrate on the central theme of the production. the dancers and their movement are shaped with light and borne on the music. Neither choreographer ever turns the stage into a peep show; the audience members are never reduced to voyeurs.
Catalogue (First Edition)
A choreography by William Forsythe
It is "an intricate, almost baroque piece", says choreographer William Forsythe of Catalogue (First Edition). The rich fund of “body knowledge” contributed by Jill Johnson and Christopher Roman, two former Forsythe dancers, and the erstwhile ballet soloist Brit Rodemund are part of the fabric of this new piece. Forsythe is still on a search for new shapes and patterns of movement. He is looking back as a way of reinventing himself.
A choreography by Jan Martens
2017 – These are uncertain times. When populists take the power, when opinions and "fake news" take up too much (online) space and the only debates taking place are ultra-polarized, there is no place for precision and care, for reflection and empathy. In Man Made, Jan Martens constructs a new choreographic and social system from the knowledge, experience and sensitivity of five dancers. And the result? Is it an illusion? A utopian dream? We don’t know. All we know is that that Man Made's physical, dynamic system contains a vital dose of naivety. A glimmer of light in dark times.
Coproduction: Theater im Pfalzbau, tanzhaus nrw. With the support of BASF SE. In collaboration with the University of Southern California, Glorya Kaufman School of Dance, Los Angeles. Co-financed by the European Union's Creative Europe Program within the framework of DANCE ON, PASS ON, DREAM ON.
A coproduction of Kampnagel Hamburg. Co-financed by the European Union's Creative Europe Program as part of DANCE ON, PASS ON, DREAM ON
DANCE ON focuses on the artistic excellence of dancers and dancers over 40, who are present with their dance life on stage with their experiences, their charisma and their portrayal. The DANCE ON ENSEMBLE thus changes the familiar picture of dance. DANCE ON is an initiative of DIEHL + RITTER gUG.
The Dance On Ensemble embodies and shows what the dance art wins by experienced dancers
Where on the stage alone young bodies are associated with beauty and virtuosity, DANCE ON develops a direction-oriented perspective for the development and presentation of the artistic potential of mature dancers. They have an additional radiance, sovereignty and impressive display power, which comes from lived experience. In addition to a sound knowledge of numerous dance techniques and choreographic manuscripts, they have an in-depth knowledge of the effect of their own body.