Both the American and the French choreographer began their careers in the s and are considered two of the most influential artists of their generation. In the work of these year-olds, dance history resonates — memories intertwine with imagination. In steal you for a momentMeg Stuart continues her collaboration with Francisco Camacho. The Portuguese performer danced in her first piece, and in she created the solo BLESSED for him, a work that dealt with the climate crisis. According to the program notes, the starting point for this duet was the Nuragic ruins in Sardinia — mysterious remnants of a vanished culture. However, none of this is visible on stage. Instead, objects made of plywood are scattered across the Radialsystem stage. What unfolds is a continual process of reconfiguration: the artifacts are shifted and rearranged. His body takes on the appearance of a fragile construct, and soon enough, the precarious little tower collapses. Amidst scenes of quiet humor, there are also tender moments. Despite the theme of impermanence, the dancers find solace in their friendship. Stuart and Camacho work together seamlessly. His angular movements give him the appearance of a comic book character at times, while her silver mane and melancholy air evoke the image of a sorrowful clown. When Camacho offers her a miniature pyramid as though it were a precious gift, she gazes at him, bewildered. The two play with their little forms like children in a sandbox, waving papyrus reeds, communicating in a secret sign language, and navigating through emotional landscapes. They are outstanding performers, but by the end, the duet loses its focus and veers into overly personal territory. The choreographers and dancers Meg Stuart and Francisco Camacho lose themselves performatively in their friendship in steal you for a moment. Inspiration is fleeting - it can be found everywhere, but its traces are lost. Choreographers and dancers Meg Stuart and Francisco Camacho sought inspiration for their creation steal you for a moment in Sardinia. The stone towers of the Bronze Age Nuragic culture Gefilterd Water Kantoor Huren there, mighty statues guarding gigantic tombs, with design elements such as spiral shapes. A pendulum hangs from the ceiling, sand is piled up and grasses are stuck to the back wall like a scrapbook. In this scenario, Stuart and Camacho — who met 35 years ago in New York, have been friends ever since and have worked together time and again — unearth emotional artifacts as if Gefilterd Water Kantoor Huren were archaeological treasures. What is the artistic result of a friendship? How can we effectively present our private relationship on stage for others? There are no clear answers, steal you for a moment remains closed to us. At first, the US-American, who has lived in Berlin for 20 years, and the Portuguese, who runs a production house in Lisbon, perform without touching — sitting stiffly next to each other, toppling over like mannequins. Later, there is a comic duet of gestures and vocalizations, and Meg Stuart, who is a great comedian, scolds Camacho, who kindly hands her a pyramid as a gift. She excels at unexpected, surprising movements — as she carries in her body the result of decades of improvisation and exchange with other artists. Her movements are soft, not quite as elastic as they used to be, but lightning fast. When Camacho brings her a pile of sand, she looks stern, then suddenly turns one of the hollow forms around, transforming it from a sculpture to a sand mold. He is always on stage himself, building landscapes out of wooden figurines or projecting a laser grid across the action, which creates a maze of green lines that slowly tilts to Gefilterd Water Kantoor Huren side. At some point, Meg Stuart briefly makes contact with the audience, not all of whom stay until the end. You can tell from the laughter how grateful everyone is for this moment that breaks through the devout contemplation of art. In the end, when Stuart and Camacho lie on their backs and send an intimate dialogue into the room - I was in love with you when we first met, she says; this is how friendship can begin, he replies - the audience is once again left out. They can compare their own ideas of intimacy and mutual success with a performance in which two exceptional artists have remained completely wrapped up in themselves and away from us. This might be because so little is known about the prehistoric culture of the Mediterranean—today, we mostly know about the Nuragic tower structures built around BC on Sardinia, though their exact function remains a mystery. In this way, the reference makes sense: it is only through architectural remnants that we can glean anything about that ancient culture. Vanishing lines are drawn on the floor and walls, a pendulum swings from the ceiling, and mounds of sand give rise to small pyramids shaped using wooden templates. The choreographers offer no explanations, instead maintaining a deliberate restraint. They step onto the stage quietly, without fanfare, moving slowly into the space, whimpering, slurring their speech.
Je moet tevens kunnen omgaan met intense momenten van samenwerking die tot niets leiden symbolic waste. Alsof de andere artistieke medewerkers totaal onwetend zouden zijn, geen theoretische interesses zouden hebben, enkel zouden doen en niet denken. Intussen wordt er gedanst en gedrumd. Het lijken het brokstukken van oude, Griekse tempels. Lush songs from the Great American Songbook. The interaction returns to being with objects and then moves on to a game of shadows that seems to make them children again.
Was die Kunden sagen:
Ab sofort können Sie gemeinsam mit Kollegen, Familie oder Freun- den in entspannter Atmosphäre und unter Anleitung eines talentier-.How long something last depends on whether it is completed or still needs to resonate — what counts is precision, perseverance, devotion to a process and to the moment, as in competitive sports. Or now? Am Schulzentrum Ringstr. Delete template? However, when the narrated world itself is anachronistic, this is a typical aspect of sci-fi, which can express itself, for example, in the form of loops or time holes. The more so as «Waterworks» is inspired by an almost uncanny aesthetics: drops of water glittering on the skin, dust swirling up, scarves floating through the water, and sequins reflecting the light. Change language. Omdat ze zich in die idee kunnen inschrijven, zoals Damaged Goods dat kon in de visie van Decoratelier. I remember performances in the beginning of the s, very concentrated in space. Arranged on the left side of the stage, motionless, they emit sounds without, however, changing their expressions. Toch beschouwt Jozef Wouters A Day is a Hundred Years in zekere zin als zijn debuut: mid-career is dit de eerste voorstelling die hij met zijn eigen naam signeert. De saga van Urschmerl vindt u opwww. But now is the eleventh hour for Decoratelier. Saved successfully! Dat kleurt natuurlijk zijn ervaring. Wouters: Wij bestaan nu vijf jaar en mensen beginnen het for granted te nemen dat we er zijn. Joseph, Herderstr. From the auditorium a man's loud voice, relieved and indignant, penetrates the silence before the roar of applause: "Well, finally! La Tentation bleek een dood spoor, vandaag hopen we onze intrek te kunnen nemen in de oude Bodega in de Birminghamstraat, hier achter deze muur. Een eindeloos veranderlijke en onderhandelbare ruimte, waarin het centrale perspectief plaatsmaakt voor een veelheid aan blikken, en de scenografie ons meer ziet dan wij haar zien. Dat is zo schoon, die kleine momenten dat je voelt dat mensen zorg dragen voor het geheel. You catch fleeting snatches of meaning—a brief melody, a fragment of dialogue—only for it to vanish just as quickly. Diese Kunden sind bereits angebunden. Lacht Ik voelde dat er nood was aan een plek waar je vrij kan zijn en experimenteren, waar een podium beschikbaar wordt gesteld zonder dat daar bepaalde economische waarden aan vooraf moeten gaan. Hij komt daar in het boek op terug zonder de context te benoemen. Neuhofer Str. September, mittwochs Dat is voorpret!
