All posts tagged “Dramaturgy”

January 23, 2019

OLA NOCTURNA

OLA NOCTURNA

Frankfurter Positionen, Frankfurt

2011

Ola Nocturna – When they didn`t know anything yet
A scenic concert

Conzept: Christian Pedro Vasquéz, Eleonora Herder & Arne Köhler
Composition: Christian Pedro Vasquéz
Video, stage and light: Eleonora Herder & Arne Köhler

"To learn to live with ghosts, in the upkeep, the conversation, the company, or the companionship, in the commerce without commerce of ghosts. To live otherwise, and better. No, not better, but more justly. But with them. […] And this being-with-the ghosts would also be - not only, but also - a politics of memory, of inheritance, and of generations."

(Jaques Derrida, 1993)

The composition "Ola nocturna - When they didn`t know anything yet" approaches the concept of no-man's-land on a temporal level.
Starting from the idea of the echo as an acoustic ghost, we try to make tangible an alternative experience of time, in which the present is always understood as a no-man's-land that is lost between times.
Thus, the present time is always an echo, a trace that points from the past to the future.
And just as music cannot exist without the memory of the instantly preceding and unavoidably evokes the past, a society cannot survive without memory.
To live in no-man's-land would mean to accept the asynchronicity of the living present with oneself, and to learn to live with the ghosts.

Venue: LAB (Festival Frankfurter Positionen 2011)
Date: 05.02 + 06.02.2011

www.frankfurterpositionen.de

„Bei Bewegung einzelner Musiker durch den Raum gewannen sie eine dreifache Präsenz: als Liebhaftige, als Schattenentwurf im Scheinwerferlicht und zusätzlich noch einmal als filmissche Projektion.“

(Elisabeth Risch: „Jenseits der Gemütlichkeit“, 08.02.2011, Frankfurter Allgemeine Zeitung)

“Vasquéz’ Stück arbeitet raffiniert mit Projektionen, Videos und Verwirrungs-Effekten (Eleonora Herder, Arne Köhler) und gestaltet das Thema des Verschwindens in der Zeit mit klug eingesetzter Technik.”

(Hans Jürgen Linke: „Rückweg in die Mitte“, Frankfurter Rundschau, 08.02.2011)

Recording Scenic concerts HR2 by Resilentes’ Music

January 23, 2019

A MIDSUMMER NIGHT'S DREAM

A MIDSUMMER NIGHT'S DREAM

Schauspielhaus, Düsseldorf

2014

Confusions of love: Demetrius is to marry Hermia, but she loves Lysander and is loved by him. The two escape from the city into the forest, followed by Demetrius, who in turn is pursued by Helen, who desires him. Love as a chase.

In the forest, the rulers of the elf kingdom, Titania and Oberon, are in a fierce dispute over a beautiful boy whom both desire passionately. This quarrel is causing great unrest in nature - the laws of time and space are turned upside down this summer night.

In the counter-world to the orderly city, elemental spirits, unrecognized powers, above all the power of Eros and rapture rule. The lovers are impelled by these powers, lusts, desires, in a "midsummer madness" that goes beyond their minds.

Even the fairy queen becomes a victim of her own sexual desire and succumbs in a dream - or is it in reality? - the ecstasy of love with a donkey.

Catalan director Àlex Rigola sees this world of ecstasies, of sex, reflected in a society that was the center of an avant-garde of artists in New York in the early 1960s, the Factory of Andy Warhol.

Dancers, singers, actors, filmmakers and lots of groupies, truth-seeker and love-addicts met here for ecstatic sessions in which they painted pictures, made films, invented and played songs, conceived and performed performances. A walk on the wild side.

Shakespeare's comedy shows how invigorating and destructive these dream worlds - created by drugs and passions - can be, how exuberant, amused and desperate people are in their search for fulfilment, pleasure and excitement. And the story of the Factory.

Direction                Àlex Rigola
Stage design               Max Glaenzel
Costumes           Regina Rösing
Music
Dramaturgy Eva-Maria Voigtländer  
Dramaturgical assistance   Eleonora Herder  
Theseus – Artus-Maria Matthiessen
Lysander – Andreas Helgi Schmid
Demetrius – Heisam Abbas
Peter Squenz (Quince) – Daniel Fries
Schnock (Snug) – Lutz Wessel
Zettel (Bottom) – Urs Peter Halter
Flaut (Flute) – Marcus Calvin
Schnauz (Snout) – Katharina Lütten
Hermia – Sarah Hostettler
Hermia (for Sarah Hostettler on november 13) - Hanna Werth
Helena – Pia Händler
Oberon – Sven Walser
Titania – Edgar Eckert
Puck – Moritz Führmann
Elfe – Klara Deutschmann

Das alles ist also wunderbar gespielt, sehr lustig, stimmig und opulent inszeniert, die leichtfüßige Übersetzung von Angela Schanelec, die zwischen fröhlichen Versen und gewichtigen Sätzen variiert, liegt den Schauspielern leicht im Mund: eine saubere, schöne Arbeit, die die zuletzt so theaterrenitenten Düsseldorfer zu Standing Ovations treibt.

www.nachtkritik.de, 20.09.2014

Der katalanische Regisseur Álex Rigola verlegt Elfenkönig Oberons mystischen Wald der Verwechslungen in Andy Warhols Factory. Einmal in Warhols World, werden die beiden jungen Athener Hermia und Demetrius gefilmt in ihrer Liebesverzweiflung und erliegt ihr Freund Lysander im Museum Oberons Liebesgruseltrank, der ihn zu zombieesken Verzerrungen verführt. […] Und überhaupt sind zwei Stunden ohne Pause lang die Machtverhältnisse völlig klar: Der König des Waldes befiehlt und lenkt, wohlwollend, aber nicht gnädig. Und da jeder in jeder peinlichen Pose gefilmt und fotografiert wird, öffnet sich in all den Machtspielchen und unter der Factory-Oberfläche ein Horror-Abgrund im Kaleidoskop von Kunst, Markt und Medien, für die mit ihren masochistischen und sadistischen Mechanismen ein Absturz nur vorübergehend Geltung hat.

Deutschlandradio Kultur, 20.09.2014 (Hören Sie den kompletten Beitrag: http://goo.gl/qELIIm)

Die Inszenierung lebt vom Wechsel auf einer im Stil der Factory bestückten Drehbühne (Max Glaenzel) mit vielen Räumen; sie lebt von Laut und Leise, Chopin und Velvet Underground, von großen Gefühlen und dem Rausch der Liebe. […] Am Ende brandet großer Applaus auf.

Rheinische Post, 22.09.2014

Schauspielerisch glänzt Moritz Führmann, als Puck ohnehin die Mitte des Stücks. Er macht auch tänzerisch (neben und mit der wahren Elfe Klara Deutschmann) eine mehr als gute Figur. Andreas Helgi Schmid, Sarah Hostettler, Pia Händler und Heisam Abbas als Bäumchen-wechsel-Dich-Paare agieren zuweilen etwas übertickert, sorgen aber für kräftige Lacher und gute Stimmung im Parkett. […]Langer, jubelnder Beifall für das Ensemble wie das Regie-Team.

NRZ/WAZ, 22.09.2014

Rigola hat Personal und viel Text gestrichen, Passagen montiert, Rollen stärker oder anders bewertet, besonders die des Puck. Puck regiert allmächtig in der sündigen Kunstbude. Er ist Herr über den Zaubertropfen, der die Liebenden verwirrt; und der Puck ist immer da, er schlägt das Rad, fährt splitternackt mit dem Fahrrad über die Bühne, nimmt irgendwann wie Meister Warhol selbst die Kamera in die Hand, beschwört die neuen Medien und zeichnet das Geschehen auf. All dies macht Moritz Führmann glänzend.

Rheinische Post, 22.09.2014

Regisseur Alex Rigola und sein Team haben keinen Aufwand gescheut, um bunt die These zu untermauern: Shakespeares anarchischer Feenwald, jener, in dem die spießigen Gesetze der Liebe außer Kraft gesetzt sind zugunsten von Rausch, austauschbarem Sex und Dauerparty, ist am besten in der anarchischen Drogenwelt der Kunstkommune darstellbar – auch wenn diese ja selbst schon ein historisches Artefakt der sechziger Jahren darstellt. […] In einer der stärksten Szenen des Abends verwandelt sich Zettel alias Warhol-Jünger John Giorno bei den ersten grellen Performance-Proben in einen Esel. Urs Peter Halter stellt Zettels Verwandlung als paranoiden Drogenrausch nach – mit all den Einsamkeitsabgründen, die sich so auftun mögen, wenn man sich auf einmal bei absurden Sexspielen im Hinterzimmer eines Ateliers wieder findet.

Deutschlandfunk, 21.09.2014

January 23, 2019

SOMETIMES I THINK I CAN SEE YOU

SOMETIMES I THINK I CAN SEE YOU

Mousonturm, Frankfurt

2014

“Sometimes I think I can see you” is a Performance in public space in which I participated in the version that was created for Frankfurt am Main in the frame of EVAKUIEREN a Festival of the Theater Mousonturm.

A train station. Four authors observe the space from various perspectives. Typing into their laptops, they write live on what they see in the railway station. And other things too: private observations, things they make up, or historical information. Every word they type is projected onto a large screen, a separate one for each author.

The audience and the casual passers by of the train station start to be part of the narration of the writers. When they check at the screens they notice they’re becoming characters in some kind of fiction created on the spot.

The audience sees how the writers create a sort of novel alive taking the reality that surrounds them. And they also have the possibility to “act”, to interfere that fiction; they are part of the creation of a collective narration that reflects a time and a space.

Like surveillance cameras recording anonymous individuals’ every movement in the station, each writer transforms the spontaneous progress through a public space into narratives conveying what is going on – or might be going on – inside people’s heads in parallel with the bustling life of the station.

Concept and Idea: Mariano Pensotti

Mariano Pensotti (Buenos Aires – 1973) studied cinema, visual arts and theater.

His performances have been presented in Argentina and in festivals and venues in Belgium, Germany, France, Ireland, Latvia, Brasil, Canada, Japan, Austria, Spain, Chile, England, Denmark and Switzerland.

For his work he has won the prizes Rozenmacher, Clarin and Premio F; and the schollarships Unesco-Aschberg, Rockefeller Foundation, Fundación Antorchas and Casa de América de Madrid.

The following authoirs from the Rhein Main Region participated in this project: Eleonora Herder, Lea Wohl von Haselberg, Silvia Bieler, Andrea Geißler, Ingeborg von Zadow, Safiye Can, Andreass Hutt, Brandstifter, Gabriele Schaffner, Thomas Kurze, ,Iris Welker Sturm, Ewart Reder and Jannis Plastargias.

January 23, 2019

INCERTA GLORIA

INCERTA GLORIA

Teatre Nacional de Catalunya, Barcelona

2015

Joan Sales dedicated most of his creative endeavours to make what would become the great Catalan novel about the Civil War. It is a portrait with admirable rigour of detail and a firm stance against the excesses of all parties, which, without losing strength in the ideological convictions of its author, avoids falling into the Manichean positions that have so often facilitated the elaboration of reductionist discourses on this conflict of painful resolution.

Sales' masterpiece follows life on the battlefront and in the rearguard from the different points of view of three young friends who fought together on the Aragon front, and who are both united and separated by their love for two female figures who live the reality of the opposing rearguard from that "uncertain glory of an April day" - to paraphrase the Shakespearean verse of The Two Gentlemen of Verona— in which the rise of the military forces triggered the war.

Àlex Rigola approaches the pages of one of the greatest Catalan novels to offer his personal stage reading, in keeping with his earlier works, such as his celebrated 2666 on the novel by Roberto Bolaño.

And all youth is nothing more than the uncertain glory of an April morning, a dark tempest traversed by flashes of glory, but what glory? What glory, O God? One must awaken, and awakenings are sad after nights of fever and delirium. Perhaps the worst thing about war is that it’s followed by peace… One awakens from one’s youth as from a delirious fever, but one clings to the memory of that fever and that delirium, that dark tempest, as though nothing else on earth were worth the trouble. I’m nothing more than a survivor, a ghost. I live only in my memories.

(Joan Sales, Incerta glòria)

Stage design: Max Glaenzel

Costumes: Sílvia Delagneau

Light design: Agustí Viladomat

Soundtrack: Nao Albet

Sound: Albert Mosoll

Video:
Francesc Isern
Max Glaenzel

Assistant direction: Alba Pujol

Assistant stage design:
Martín Eluchans
Josep Iglesias

Documentacion: Eleonora Herder

Body illustration: Alejo Levis

Technical and management team of Heartbreak Hotel:
Jordi Puig “Kai” (Producción ejecutiva)
Punt de Fuga SL (Coordinación técnica)
Titus Andrònic SL (Producción)
Trànsit Projectes (Producción)

Production: Teatre Nacional de Catalunya y Heartbreak Hotel

January 23, 2019

EL PÚBLICO

EL PÚBLICO

Teatro de la Abadia, Madrid

2015

"Destroy the theatre or live in the theatre"; exclaims Lorca in this play with which she wanted to break new ground. And this is exactly what she is talking about: the courage to break with the past, with inertia, tradition, repression - both artistically and emotionally - and to do what you really want to do.

El público, written in 1929-30, speaks about the theatre and about desire, through a masque in which fiction and reality overlap, in which identities are in constant metamorphosis, in a constant search for authenticity, honesty and freedom.

January 23, 2019

THE LIBRARY

THE LIBRARY

Wiesbaden Biennale

2016

When ten people learn a poem by heart, there is no KGB, CIA or Gestapo that can do anything about it. The poem will survive.«

George Steiner

Leave the market square behind you. Walk through the huge wrought-iron gate. Cross the courtyard. Open the little door of the red-brick warehouse. Go up the creaky wooden stairs. Open the door to the loft. Wait … —

Two empty rooms, eight performers. Stored in their minds: literary fragments, books and documents. Knowledge they want to share with you, give you to read and pass on to you. Word for word, sentence by sentence. A growing hoard of stored knowledge, safe from wiretaps, traceless. Passed on from one person to another. — In the city of data, where the NSA, the German Credit Check Agency, the German Office of Criminal Investigation and the German Office of Statistics are all located, Tiago Rodrigues creates a secret library of poetic resistance.

Library is a production of Wiesbaden Biennale in coproduction with Teatro Nacional D. Maria II.

Director: Tiago Rodrigues

Dramaturg: Magda Bizarro

Stage Design: Thomas Walgrave

Performers:

Eleonora Herder, Arthur Romanowski, Fabricio Belzoff, Christoph Weickenmeier, Elena Backhausen, Katharina Goebel, Thomas Bittel

Production: Rita Mendes

January 23, 2019

RECONSIDER YOUR IMAGE OF ME

RECONSIDER YOUR IMAGE OF ME

Teatr Shar, Teheran

2016

“Reconsider your image of me” is a long term research based performance project that reflects on and deconstructs the European imagery of the so called “middle east” and at the same time analyses how this image conditions the selfdefinition of iranians.
So far two different performances have been developed under this title. “Reconsider your image of me, Tehran” and “Reconsider your image of me, Den Hague”.

After an initial research and development period they decided to look at the images that Europe has and produces on the so called middle East and vice versa and what kind of politics and stereotypes those images create in our collective imagery. Considering daily life as culture, the company looked at intercultural misunderstandings, and questioned whether theatre could deconstruct those images and by this form a bridge between them and reality.

A production of:

Virgule Performance arts Company and STET Theater, Den Hague.

With the financial support of Hafez Hall Theater Tehran, the Dutch embassy in Iran and Goethe Institut.

The company gathered for a workshop in The Hague in The Netherlands in March/April 2016 to develop the Dutch Performance. In this workshop the company collaborated with the Iranian playwright Naghmeh Samini and the performance-artist Eleonora Herder.

They developed a performance, which crossed the borders between fictional drama, mockumentary and TV show, also illustrating the fictional construction of cultural identities.

Three Iranian and three European performers were introduced to the audience as intercultural couples and are being interviewed by the audience.

Together with the playwright Naghmeh Samini the performers had previously developed an immense background of biographical fragments, documents and fictional narratives about their own half fictional half real identities. Armed with this baggage they affronted and answered the questions and challenges coming from the audience.

Depending on which questions are asked the performance develops in one direction or another. The audience creates the dramaturgy of the show. What starts as an amusing performative game develops into more and more of a reflection on cultural stereotypes and demonstrates the mechanism of the construction of national or religious identities.

All information about the project:

http://www.reconsideryourimageofme.net/

Director & Set Designer: Arvand Dashtaray

Writer: Naghmeh Samini

Dramaturg: Cecile Brommer

Project manager: Marene van Holk

Lighting Designer: Vasilis Apostolatos

Video Designer: Mahtab Alizadeh

Director’s Assistant: Amin Yazdaninejad

Producer: Elske van Holk (STET)

Artistic Advisor: Eleonora Herder

Production manager: Tara Miller

Performers: Marene van Holk, Saber Abar, Hassan Madjooni, Diba Khatami, Natasa Stork

Project Manager and Co-ordinator: SaeedeH AmirSaei

STET Project Manager in Tehran: Marene van Holk

First Assistant Director: Amin Yazdannejad

Second Assistant Director: Ali Khalatbari

Technical Manager: Mahtab Alizadeh

Translators: Yasamin Hamedani, Danial Khojasteh, Diba Hajiha

You can see a full documentation of this showing following the link:

(Password is: Reconsider)

Press

January 23, 2019

The Turtle // السلحفاة

The Turtle //  السلحفاة

Akademie der Künste, Berlin

2018

Akram, Lela and Soran, three artists in their early thirties, who all grew up in completely different conditions in different parts of the world, place their childhood and youth photos next to one another and notice that their biographies relate to each other more than they thought they would. The performance is a visual deconstruction of these memories.

Idea and artistic direction: Akram Assam

Text and dramaturgy: Eleonora Herder (Lela)

Video design: Soran Ahmed

Voice: Elisabeth Leistikow

Light design: Mohammed Rahi

Support: Ingvill Fossheim und Ursula Hobmeier

Premiered on April 28, 2018 in Akademie der Künste Berlin.

Many thanks to TARKIB Baghdad Contemporary Arts Institute

What is your life? What more is it than a bunch of mental photographs? An image, a bit of sound, a colour, a marmelade glass full of beachsand, the taste of humus… something that some day for whatever reason you decided to frame and save in the archive of your brain. Moments that will be lost in time, like tears in rain.

And through the possibilities of internet those memories become a huge collective biography, with images reaching you parallelly from all possible parts of the world. Holiday photos mix with photos of bomb attacks, pictures of a sunday brunch at a roof top in a mediteranean city mix with the image of a new born child in a Greek refugee camp, pictures of a wedding party with pictures of somebodys aunt in hospital about to die from cancer. All at the same device, at the same time and all those images constitute your memory somehow.

Memory is not an instrument for surveying the past but its theater. It is the medium of past experience, just as the earth is the medium in which dead cities lie buried.

January 15, 2019

IMPLANTIEREN

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IMPLANTIEREN

site-specific performance festival Frankfurt

01.09. – 30.09. 2018

AboutTeamFactsVideoPress

It's September and the concrete in the city no longer glows. In some places it breaks open and small cracks become visible.

From September 1 to 30, the site-specific performance festival Implantieren 2018 occupies the city.

In the third edition of the festival, ID_Frankfurt presents ten premieres by dance and performance artists from Frankfurt's independent scene who explore, use and reinterpret urban space. Walks, concerts, interventions, performances, late-night shows and public dance workshops will take place on the streets and squares, in the suburban trains, dunes, museums and cinemas between Frankfurt, Offenbach and Hanau.

The collective dasda.hinter opens the festival centre at different locations every weekend and invites the audience and local residents to drinks and debates.

The DJ duo from Wunderbaren Waschsalon transplants queer beats into Rebstockpark for the opening (September 1) and five weeks later, for finale, spreads picnic blankets and ghetto blaster in Holzhausenpark aus (30.9.).

The urban researchers Katharina Böttger and Lene Benz will discuss with artists, scientists, activists and residents about questions of urban planning (7.9.), heteronormative imparting of knowledge (14.9.) and the possibilities of urban protest culture (22.9.).

For two weeks, the artist collective Mobile Albania is implanting an alternative bus line into the Rhine-Main area and asking passers-by to get lost - spatially and mentally.

im-plan-tie-ren means to plant or insert something. What do we have to put in? And what to leave out? Sit down and stay a while. Turn your heads and see the skyscrapers laid down. Implant yourself..

Artistic direction, organisation, press and public relations:
Eleonora Herder, Hanna Knell

Production management, ticketing, accounting: Florian Richard

Technical director: Hendrik Borowski

Concept: festival centre: dasda.hinter

Concept dance workshops: Hannah Dewor/ DAS PLATEAU

Concept discourse program: Katharina Böttger, Lene Benz

Graphics: Anna Sukhova

Artistic contributions: Mobile Albania, red park, dasda.hinter, DAS PLATEAU, Susanne Zaun, Judith Altmeyer, Stephan Dorn, Maria Isabel Hagen, Leander Ripchinsky, The Kill Joys, Julia Krause, Friederike Thielmann, Jacob Bussmann, Miriam Coretta Schulte, Elena von Liebenstein, Isabelle Pietsch, Anne Kapsner, Viviane Niebling, Florian Richard, Andreas Radek, Anna Schewelew und Wunderbarer Waschsalon

Organizer: ID_Frankfurt_InDependent Dance und Performance e.V. 

11 performances, 5 public discussions, 3 installations, 2 workshops, 2 parties

Presentations in total: 57

Artists, cultural workers and theorists: about 60

Locations: 29

Genres: Performances, audiowalks, concerts, busline, guided tours, installations, workshops, symposia, discussions, lectures, parties

Number of spectators: 1.519

Sponsors: Cultural Office of the City of Frankfurt am Main, Kulturfonds FrankfurtRheinMain, Hessian Ministry for Science and Art, Naspa Foundation, Women's Department of the City of Frankfurt am Main, City of Hanau, Foundation of the Sparkasse Hanau

Cooperation partners: DAM German Museum of Architecture, Mal Seh'n Cinema, Open House of Cultures, afip - academy for interdisciplinary processes, laPROF Hessen e.V., Künstlerhaus Mousonturm, Begegnungsstätte Freigericht Hanau, basis e.V., Museum of Local History Schwanheim, Senckenberg Museum of Nature

“Das Ziel ist ähnlich (wie bei der Wiesbaden Biennale): Diskurse anregen, möglichst nicht nur unter beteiligten Akteuren. Doch die jungen hier ansässigen Künstler von IMPLANTIEREN verstehen sich als Erforscher ihrer eigenen Umgebung, oder als leise Störer des Stadtbildes. Sie setzen sich wochenlang neben die Stammkunden von Wasserhäusschen oder machen Kunst in der S-Bahn. So sollen die Blicke auf das gerichtet werden, was wir längst hätten sehen können… . Muss Kunst im öffentlichen Raum knallen? Oder sich eher sanft anschleichen?” Eva-Maria Magel, “Magel streunt”

Frankfurter Allgemeine Zeitung, 30.08.2018

“Den künstlerischen Leiterinnen und Organisatorinnen des Festivals, Hanna Knell und Eleonora Herder, geht es darum, die freie Szene außerhalb von etablierten Institutionen sichtbar zu machen. „Es gibt so eine große freie Szene in Frankfurt und Umgebung“, sagt Hanna Knell. „Und nur ein sehr kleiner Teil davon findet Raum in etablierten Institutionen, wie zum Beispiel dem Mousonturm“, sagt sie. Strukturell setze man sich mit alternativen Produktionsweisen auseinander. Inhaltlich gehe es den beiden Macherinnen mit dem Festival um die lokale Szene und um Fragen zur Urbanität: Wie können wir in diesen Ballungsräumen zusammen leben? Welche Diskurse gibt es? Die beiden wollen Implantieren als biennal veranstaltetes Festival der freien Szene etablieren. „In nahezu allen deutschen Metropolen gibt es solche Festivals zur freien Szene. Nur in Frankfurt nicht“, sagt Hanna Knell.”

Tamara Marszalkowski, “Kunst implantieren”, Journal Frankfurt, September 2018

Die eigene Stadt als Bühne: IMPLANTIEREN 2018 soll und will darstellenden Künstlerinnen und Künstlern jenseits von etablierten Spielstätten mehr Sichtbarkeit verschaffen, neue Allianzen knüpfen und Begegnungen ermöglichen. „Lebendige Urbanität entsteht nur da, wo sich unterschiedliche Lebens-, Gefühls-, Wahrnehmungs- und Denkweisen überkreuzen und diese Begegnungen und Differenzerfahrungen den Einzelnen aber auch die Stadt prägen und verändern“, so die Organisatoren vom 2009 gegründeten ID_Frankfurt e.V.

Focus. de, 23.08.2018

https://implantieren-festival.de/wp/implantieren2018/