Performing

Performing

 

Molecular Love – Live work – Dimensions variable
Mercedes Azpilicueta – 2016 – Amsterdam

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Molucular Love txt

 more info

 

 

 

تجربه های باز شماره 1 : یلدا و ستاره
Baz experiments No.1  : Yalda and Setareh

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An experiment performed by Yalda Pakzad and Setareh Fatehi
In Cafebaz, Tehran, Iran

 

 

 

Part 3: How to enter a Kiss

Eleana Alexandrou June 2016 Amsterdam

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I want to kiss happily ever after but ‘salivafalls’ and opinionated
tongues leave me with no space to dance; no room to bloom
with confidence. When a kiss happens, there’s no space for words
anymore. This is my summary of Luce Irigaray‘s final chapter in her
book This sex which is not one. ‘Part 3: How to enter a kiss’ is a
performance work that negotiates what we know about kissing
and provides space to think of and imagine an encounter with
another.
How to care about kissing?
How to care?
How to kiss there?
Their?
more info

 

Gotland Englishes 

Nicoline van Harskamp 2014 Sweden

PHOTOPAGE

Within van Harskamp’s project is the idea that English,
as the dominant language of global capitalism and
international politics, is becoming the world’s primary
lingua franca at a pace unmatched by Mandarin or
Spanish. With non-native English speakers outnumbering
English-speaking populations three to one, the idea of
a standard version of the language is increasingly devalued.
English speakers worldwide adopt multiple “Englishes”
towards emancipatory and creative ends. more info

 

 

 

Niemansland

Dries Veroeven 2012-2014  Athens, Amsterdam & Utrecht

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Twenty viewers and twenty economic immigrants / political
refugees come together in a downtown Athens station. There,
equipped with iPods to provide audio information, each ‘watcher’
listens to the biography of one of the immigrants, who could
be their guide through the streets of their home city. The pairs
of viewers and guides become neighbors of a unique kind as
the latter show the former a side of Athens they may never have
seen before. Following on from performances in the Netherlands,
Germany and Spain, No Man’s Land has been specially adapted
for performance in Athens where, according to its creator,
“conditions are urgent enough to demand a moving, poetic and
meaningful response to the question: “What can a multicultural
environment mean?” more info

 

 

 

Positions

Ivana Müller 2014 Frascatie Theater Amsterdam

Positions

In Positions Ivana Müller deals with the concept of “economy”
and it’s different versions: economy of movement, economy
of identity, economy of emotion, economy of theatre; using
assets that define our social identity, our civil status, our class
position and our life style as currency. A “capital” that is there
in the beginning of the show, a “potential”, or “destiny” that
each of the performers has gets exchanged, traded, bargained,
fructified and capitalized on through an obscure practice that
resembles a “black-market”. What in the beginning looks almost
like a children’s game develops into an imaginative and emotional
journey based on the idea of “exchange” that offers a complex
reflection on the idea and place of value and the representation
of the same. more info

 

 

In Common 

Ivana Muller 2013 Maria Matos Lisbon & Brut (Vienna)

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Sharing the same stage, same language and the same set of « rules »
performers find themselves in positions and problems comparable
to those we are familiar with in contemporary democracies.

What we represent and how we are represented, are the crucial
questions of this piece in which a series of choreographic propositions
create a surprising playground for socio-political explorations. more info

 

 

 

Interventions| public

Fernando Belfiore 2013 Dansmakers Amsterdam

Fernando Experiment

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EXPERIMENT OF THE 12th

Local artists will take part in an experimental residence of weekly-
based encounters at Dansmakers Amsterdam. The artists will discuss
and reflect on‘ Public’, in the current situation of the dance scene.
‘Public’ will be taken in its multiple and hidden meanings to question
public and private politics, dance audience and its borders, the idea
of ’members-only’ and inclusive and exclusive in society.

Is dance audience a community? Is there already a visible change in
the dance scene in Amsterdam, after the budget cuts for culture?
Should art be subsidized by public or private money? And how does
the market frame and impact the art scene itself? What is private in
‘public’? What is in ’common’ in ‘public’?

 


 

 

Yo Puta (Blue Gorrila) 

Olivia Reschofsky 2012 Frascatie WG Theater Amsterdam

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you ask: why theatre can only be an entertaining place, and
why it cannot be something for education and discussion
about relevant subjects in our society

then she says: i would propose the radically opposite: theatre
should be only and exclusively a place of entertainment-
understood from origin: entertain late 15c., “to keep up, maintain”,
from Entretenir “hold together, support,” from entre- “among” +
tenir “to hold”. Also to have a guest- to show hospitality…. more info

 

 

 

 

37 Sherries  

Ann Liv Young  2011 Frascatie Theater Amsterdam

Repetitie van de massachoreografie-performance 37 Sherrys met 37 studenten van de School voor Nieuwe Dansontwikkeling (SNDO).

37 Sherrys is a project about staged biography, about creating a character,
about being someone and about solos. The five-week residency started with
a two-day symposium with invited guest speakers and concluded with two
presentations for invited guests and a much-discussed performance at
Amsterdam’s Frascati theatre, as part of the 2011 Something Raw festival. more info

 

 

 

 

At that moment 

Amir Asani & Amir Kianpour 2010 Azad art Gallery Tehran

At that

 

 

 

 

 

Breaking the Chord

DEBORAH HAY 2010 Springdance festival Utrecht

Choreografe Deborah Hay maakt de voorstelling Breaking the Chord, in samenwerkingÊmet alle veertig studenten van de School voor Nieuwe Dans Ontwikkeling (SNDO). Try-Out in de Linneuskerk, Amsterdam

‘Hay creates an openness on the stage that transfers to the audience through
her dancers. Breaking the Chord is an invitation to be swept along to the
rhythm of the dancers’ voices and bodies.’ (Springdance festival press release)
more info

 

 

 

Opening of the Olympic of Muslim female students
Farzaneh Kaboli – 2006 – Tehran

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