ALPSMOVE 2019 / 14th EDITION

The page is currently under mantainance;

 

ALPS MOVE is a festival for local dance-forms in Southern Tyrol. ALPS MOVE is a platform for contemporary dance and action theater, bringing  various dancers onto the stage of various cities (Lana, Bolzano, Brunico or Appiano).

 

The festival is an initiative of the  „Südtiroler Tanzkooperative“ (Southern Tyrolean dance-cooperative) - a consolidation of local artists who are active in the field of contemporary dance. It is ALPS MOVE’s goal to promote local dance and to establish it as a permanent cultural event in the Southern Tyrolean culture- scene.

 

Parallel to this, ALPS MOVE wishes the local dance- scene to reach out beyond the local-regional borders and establish international relations. For this reason, ALPS MOVE has exchange projects  with, for example,  Berlin, Ferrara, and Bilbao. As well, ALPS MOVE works together with international choreographers.

Youth is also the focus of ALPS MOVE’s attention: Jugend tanzt (Youth dances) has school performances thereby familiarizing the young generation with the art of dance. Young dancers are also brought actively on stage.

Dance affects the outlook of the places in which it is performed. It changes them. After a dance performance, one no longer recognizes the place - so writes Jacques Derrida in his choreographies. 

In this sense, ALPS MOVE would like to change Southern Tyrol.

A PROJECT BY

TANZKOLLEKTIV SÜDTIROL and

Errante teatrodanza, Meran

idea-tanztheaterperformance_Doris Plankl, Bozen

Kulturverein Muspilli, Meran

Tanzschmiede / Fucinadanza_Martina Marini, Meran

 

IN COLLABORATION WITH Jasmine Fan (supported bz Hamburgischen Kulturstiftung), Vierundeinzig (Innsbruck, Österreich), Lichthof Theater (Hamburg/Deutschland), Acker Palast (Berlin/Deutschland), Walktanztheater (Vorlberg/Österreich), Westbahntheater (Innsbruck/Österreich), gemischtes doppel (St. Gallen/Schweiz).

CONTACT

Tanzkollektiv Südtirol

Braunsbergweg 6

I-39011 Lana (BZ) 

T +39 333 4412933

info(at)alpsmove.it

PROGRAM

TRISKELE Ohne Zwei: ??. A word from Buddhism that describes an unlimited state. Empty, one without another, one vacuum for experience, nirvana. Jasmine Fan brings to the stage the idea that the world of being is not made up of separate, solid things, but of forces or vibrations that mutually intertwine, just as dance does.

Marion Sparber - Originally from South Tyrol, is based in Berlin. She received her dance training at Varium (Barcelona) and Iwanson School (Munich). Marion has collaborated as a dancer with companies such as Stella Zannou, Sonia Rodriguez, ADN-Dialect, Eldon Pulak and Wee-Dance Company.

Jasmine Fan is originally from Taiwan and is now based in Hamburg. She finished her double major in dance and film at the National Taiwan University of Arts and her masters in film at the Hochschule für bildende Künste (HfbK). Since her arrival in Europe, she has been working with different artists and media with dance-film being a central topic. Parallel to that, she has been developing her own skills, and is experimenting with the incorporation of traditional Chinese folk dance and Xu-Kung into her contemporary dance work.

Supported by Abteilung für Deutsche Kultur der Autonomen Provinz Bozen, Region Trentino Südtirol, Stiftung Südtiroler Sparkasse, Südtiroler Theaterverband, Hamburgische Kulturstiftung. Thanks to Vierundeinzig.

PRE-OPENING

TRISKELE

Marion Sparber, Alan Fuentes Guerra & Jasmine Fan (IT/DE/TWN)

08.10. 1100 

AM GRIES, LANA

09.10. 1100
10.10. 1100

SPARKASSESTRAßE, MERAN

Concept: Marion Sparber, Alan Fuentes-Guerra, Jasmine Fan
Choreography: Marion Sparber, Alan Fuentes-Guerra, Jasmine Fan
Performers: Marion Sparber, Alan Fuentes-Guerra, Jasmine Fan
Original Musik: Shen sum-sum
Produced by: idea-tanztheaterperformance
Head of production: Doris Plankl

TICKETS

Freier Eintritt

GUARDIANS OF TIME Five vertical constructions made of anthropomorphic materials and fragments, assembled according to the logic of reorganized chaos or interrupted order. Five proud, severe totems topped by half-bust figures who observe surrounding reality with worried frowns. Five symbolic entities, lofty custodians: such are Beppe Corna’s “guardians of time”. Built out of layered materials and iconic elements, these guardians speak for the stratified memories that are part of individual experience, of our linear concept of time, perceived as a process in which the residue of our past is part of our present and heralds the future in its growth. By recomposing multiplicity in unitary form, the “guardians” rise up above daily circumstances and look into the distance. They are the bastions of time freed of the constraints of social and economic obligations. They represent fluid time and the desire for freedom intrinsic to life experience.

Supported by Abteilung für Deutsche Kultur der Autonomen Provinz Bozen

PRE-OPENING

DIE WÄCHTER DER ZEIT

Beppe Corna & Sabine Raffeiner (IT)

08.10. 1600

Sparkasse, Gemeinde, Palais Mamming, MERAN

11.10. 1600

Sparkasse, Gemeinde, Stadtbibliothek

Concept: Sabine Raffeiner
Choreography and direction: Sabine Raffeiner
Performers:
Silvia Greghi, Juanita Wieser
Music:
verschiedene Komponisten
Sulptures:
Beppe Corna

TICKETS

Free entry

OHNE ZWEI “Once upon a time Dschuang Dschou dreamed he was a butterfly, a butterfly happily flitting about completely unaware of the existence of Dschuang Dschou. Then he suddenly woke up and was himself again. Even though there is certainly a difference between the two of them, I really don’t know whether it was Dschuang Dschou who dreamed he was a butterfly, or the butterfly that dreamed it was Dschuang Dschou. That’s how it is when things are transformed.

I chose this tale told by the Chinese philosopher Zhuangzi as my point of departure for Ohne Zwei. The subject is the impossibility of establishing for sure what is real, which is a concept central to choreography. Moreover, it’s also intrinsic to dance: a dualism, a contrast between a relative sense of abandonment and the exact opposite, the ties and constraints of reality. On the surface our lives seem to revolve around what is concrete, with a focus on specific requirements and necessities, so that we tend to forget to reflect on the deeper meaning of things. Why do we die? What will happen afterwards? Is there some other reality beyond our sensorial experience?

Marion Sparber - Originally from South Tyrol, is based in Berlin. She received her dance training at Varium (Barcelona) and Iwanson School (Munich). Marion has collaborated as a dancer with companies such as Stella Zannou, Sonia Rodriguez, ADN-Dialect, Eldon Pulak and Wee-Dance Company.

Jasmine Fan is originally from Taiwan and is now based in Hamburg. She finished her double major in dance and film at the National Taiwan University of Arts and her masters in film at the Hochschule für bildende Künste (HfbK). Since her arrival in Europe, she has been working with different artists and media with dance-film being a central topic. Parallel to that, she has been developing her own skills, and is experimenting with the incorporation of traditional Chinese folk dance and Xu-Kung into her contemporary dance work.

Supported by Abteilung für deutsche Kultur der Autonomen Provinz Bozen, Region Trentino Südtirol, Stiftung Südtiroler Sparkasse, Südtiroler Theaterverband, der Hamburgischen Kulturstiftung. Thanks to Martin Stobbe von PATERNOSTER Verlag & Galerie, Proberaum von K3 TanzplanHamburg, pflanzmich.de GmbH, Claashof in Dittmern, Vierundeinzig.

SEE YOU 2019 We can see in lots of different ways. So here’s what I have in mind: you come over to me every day and you observe me carefully. I’ll turn into something different every day and you’ll see how I’ve changed every day..

See You delves into the relationship between body and objects, how they affect each other. The body becomes manifest to the object through direct contact, while the object becomes visible and perceptible as a whole only when it is distanced from the body. In this constant alternation of convergence and divergence the observer becomes aware of the incessant creation of new relationships. This choreography is a metaphor for our daily lives: we forge ahead along already trodden and measured paths that resemble a preordained model that continues to burn out and be regenerated. See You is a homage to everyday routine and it hidden magic, to the beauty of creation and decomposition.

Born in Seoul, South Korea Yungjung Kim has studied dance since her childhood. She graduated at the European Dance Development Center (“Hoogeschool voor de Kunsten”, Arnhem | Netherlands) in dance and choreography in 2003. Since then, she has been creative as a choreographer and dancer, performing her own pieces. She lives in Meran.

Supported by Abteilung für Deutsche Kultur der Autonomen Provinz Bozen.

WRINKLES Wrinkles speak for passing time and life, a painful reminder of ageing. Certain men go completely deranged at the prospect of ageing, abandoning the certainties and convictions of a lifetime, ending stable relationships and hurling themselves into new experiences. There are forms of artistic expression in which ageing does not undermine ability, but dance is not one of them. There are dancers who experience this crisis in dramatic terms, realizing that at a certain age they have to rethink what they do. This performance aims to illustrate such transformations through the actions of two dancers who are now in their fifties. What is lost on stage, and what is gained? Wrinkles are not just signs of ageing, but also the manifestation of our feelings, a map of our experiences, our individual stories written on our faces. As such they can have great artistic dignity.

Founded in 2013 by dancer Jesus Lezameta and performer Silvia Morandi, the Errante Teatro Danza company’s focus is the body and the relationship between individual, environment and society. 

Supported by Abteilung für Deutsche und Italienische Kultur der Autonomen Provinz Bozen, Gemeinde Meran  

TANZTHEATER

OHNE ZWEI

Marion Sparber, Alan Fuentes Guerra & Jasmine Fan (IT/DE/TWN)

SEE YOU 2019

Yungjung Kim (KR/IT)

RUGHE

Iosu Lezameta & Michele Fiocchi (IT/E)

11.10. 2000 

RAIFFEISENHAUS, LANA


OHNE ZWEI
Concept:
Jasmine Fan
Choreography: Marion Sparber, Alan Fuentes-Guerra, Jasmine Fan
Performers: Marion Sparber, Alan Fuentes-Guerra, Jasmine Fan
Original Music: Shen sum-sum, Ilya Selikhov
Video: Tobias Hoops
Produced by: idea-tanztheaterperformance, Jasmine Fan, Vierundeinzig, Lichthof Theater Hamburg, Acker Palast Berlin
Production manager: Doris Plankl

 


 

SEE YOU 2019
Concept:
YunJung Kim, Stefan Schwienbacher
Choreography, performer: Yunjung Kim
Costume: YunJung Kim
Photo & Video: Stefan Schwienbacher
Sound: Jürgen Winkler
Lights design: Carlo Quartararo

 


 

RUGHE
Concept:
Iosu Lezameta
Lights design: Iosu Lezameta
Direction and Choreography: Iosu Lezameta & Michele Fiocchi
Performera: Iosu Lezameta & Michele Fiocchi
Photos: Letizia Aguanno
Music: Raffael Virgadaula
Production: Errante teatro danza

 


 

 

TICKETS

Einzelkarte: 12,- €
Ermäßigt: 7,- € 
(Ermäßigte Karten für StudentInnen
< 26 und SeniorInnen > 65)

ZWEIFELVSGLAUBEN ZweifelVSGlauben is an interdisciplinary project in which I have tried to reconcile dance with acting and acrobatics. The young performers speak for the “snowflake” generation and the continual search for a personal values system in a period completely lacking in certainty and established views and behaviour. This was the first generation that appeared to have infinite possibilities, and that instead of seeking a profession was in a position to follow a chosen vocation. All that was required was self-belief and the ability to avoid the constraints of preconceived ideas regarding family, religion, social extraction or sexual orientation. In such an ocean of possibilities, what are the safeguards against drowning? How is it possible to find the right path in a world steeped in technology and scientific progress that encourages doubt? When everything is constantly turned upside down, how can we renew our convictions? In the end, we develop the awareness that all this brings us back to the individual, to the major questions that animate our personal inner world.

Born in Meran in 1994, Rixa Rottonara moved to Berlin after high school to explore performing arts at Die Etage, where she also discovered aerial acrobatics. In summer 2018 she performed in Carmen in the Kammeroper Schloss Rheinsberg under the direction of Giorgio Madia.

Supported by Abteilung für Deutsche Kultur der Autonomen Provinz Bozen, Brauerei Forst

DIVERSIDEM There are two questions we wanted to address: whether a dance step is more significant than any other daily movement; and whether learning a new language influences our identity and personality. The first concerns body language, and the second, spoken language. The choreography of Diversidem revolves around these two subjects. The four of us come from different countries and speak different languages. In our performance we interpret on stage the difficulties we met with in communicating, and the enrichment we experienced in this cultural exchange. From this point of view the piece is highly personal: because these are our stories, as performers we are irreplaceable. And this invests the performance with particular authenticity.

Born in Lana, Rebecca Dirler studied music and dance education at the Mozarteum in Salzburg. Afterwards she completed her studies at Die Etage in Berlin, where she graduated in 2017. While still studying she choreographed and performed in different pieces, focusing on the connection between music and dance. She has recently taken part in different works by Willie Dorner and the opera Carmen choreographed by Giorgio Madia.

1 522 The twentieth edition of the International Day for the Elimination of Violence against Women will be celebrated on 25 November 2019, ten years after the death of Pina Bausch. In some respects the two events are related: Pina Bausch was a choreographer who often portrayed pain on stage, and violence against women is one of the most frequent forms of violation of human rights. Clearly physical violence is the most common manifestation of this, but there are also others: derision, intimidation, persecution and the privation of personal freedom. What’s more, most of this takes place within the family. Although the subject is something everyone talks about, society as a whole tends to minimize it, making it innocuous through lack of communication. Often the woman herself is blamed: she was maltreated because she didn’t behave as she should.

Fosca Schiavo, born in Italy started dancing at the very young age of 7. After High School she decided to move to Montpellier, France to start a professional dance education at “Epse Danse”. Currently she lives in Vienna, studies history of art and teaches dance classes. Fosca is working with different international artists and works also for Bolzano Danza.

Supported by Abteilung für Deutsche Kultur der Autonomen Provinz Bozen

 

 

TANZTHEATER

ZWEIFEL
VS
GLAUBEN

Rixa Rottonara (IT/DE)

DIVERSIDEM

Rebecca Dirler (IT/DE)

1 522

Fosca Schiavo (IT/AT)

12.10. 2000 

RAIFFEISENHAUS, LANA


ZWEIFELVSGLAUBEN
Concept:
Rixa Rottonara, Louis E. M. Schulze
Direction: Rixa Rottonara
Choreography: Rixa Rottonara
Performers: Nica Storey, Greta Schuster, Rixa Rottonara
Foto & Video: Eike Hildebrandt
Music: Verschiedene Komponisten
Lights design: Carlo Quartararo
Costumes: Rixa Rottonara
Text: Louis Schulze and others

 

 

DIVERSIDEM
Concept: Aaron Vazquez, Rebecca Dirler
Choreography: Aaron Vazquez, Rebecca Dirler
Performers: Ioannis Mitsos, Veronica Lillo, Ioanna Kerasopoulou, Rebecca Dirler
Photos & Video: Mayra Wallraff
Music & sound: Hoyoung Im, Gò Mess, Johannes Gaertner
Lights design: Carlo Quartararo

 

 

1 522
Concept:
Fosca Schiavo, Hugo Olagnon
Choreography & direction: Fosca Schiavo, Hugo Olagnon
Performers: Fosca Schiavo, Hugo Olagnon
Production: Fosca Schiavo, Hugo Olagnon
Music:
verschiedene Komponisten
Lights design:
Carlo Quartararo

 


TICKETS

Biglietto intero: 12,- €
Ridotto: 7,- € 
(Per studenti
under 26 e over 65)

GRENZEN This dance theatre production is the fruit of collaboration with figurative artist Beppe Corna, within whose exhibition it takes place. Corna’s work focuses on man and his deepest dilemmas, revealing a certain affinity with the subjects chosen by Pina Bausch for her “Stücke”. Bausch used everyday objects on stage, but often turned their significance upside down, introducing a duality between bodies and sets. In this show Beppe Corna chooses everyday objects in the shape of doors, beyond which there are figures whose characteristics are turned upside down. The subject of both the show and the performance is borders, or boundaries: those between nations or continents, or the demarcation of a room, or indeed the confines of our individual freedom and the limits of our minds. The question is always: in or out? The figures seen are inside or outside? If they’re outside, are they struggling to enter? And if they’re inside, are they denying entry? There are no loopholes, we can’t be neutral: borders exist, they’re part of us.

Sabine Raffeiner is a dancer and pedagogue and for over 28 years she has been teaching at the dance school Arabesque in Merano (IT). Since 1988 she has been working with various organizations both as a dancer and choreographer, arranging performances, short pieces and her own choreographies. Winner of the “Fersen” Award for Direction in 2016.

Supported by Abteilung für Deutsche Kultur der Autonomen Provinz Bozen
Thanks to Ballettschule Arabesque Asv Meran

 

 

TANZTHEATER

GRENZEN

Sabine Raffeiner

13.10. 18.00 + 19.00

Bürgersaal, MERAN

 

 

 

Concept: Sabine Raffeiner, Beppe Corna
Choreography:
Sabine Raffeiner und die Tänzer*innen
Direction:
Sabine Raffeiner
Costumes:
Sabine Raffeiner
Production:
Sabine Raffeiner
Performers:
Fosca Schiavo, Hugo Olagnon, Silvia Greghi
Photos & Video:
Christian Lang
Music:
Verschiedene Komponisten
Lights design:
Carlo Quartararo
Sculptures:
Beppe Corna

 


TICKETS

Einzelkarte: 12,- €
Ermäßigt: 7,- € 
(Ermäßigte Karten für StudentInnen
< 26 und SeniorInnen > 65)

Schatten Schatten is an interdisciplinary work for the theatre that also involves dance. Brigitte Knapp’s text acts as a framework for the subject of depression and how it relates to the overload of present-day society. This illness is often repressed, minimized and marginalized, not only by society but also by those who suffer from it. The result is that most people know very little about it, and this makes those who suffer from depression feel even more isolated. The text embodies a particular focus on the interaction between visible and invisible, hope and fatalism, relation and isolation, comprehension and incomprehension. In an interplay of light and shadows, the piece describes a condition that we are often unable to express in words.

Fucinadanza is a professional company of dancers and actors from different artistic backgrounds founded in 2007, when its members were working with choreographer and director Martina Marini on new forms of expression in the field of Dance Theatre.

Supported by Abteilung für Deutsche Kultur der Autonomen Provinz Bozen, Region Trentino Südtirol, Stiftung Südtiroler Sparkasse, Stadt Innsbruck, Land Tirol, Land Vorarlberg, Stadt Feldkirch, Bundeskanzleramt der Republik Österreich

 

 

TANZTHEATER

SCHATTEN

Tanzschmiede / Fucinadanza & Brigitte Knapp (IT)

08.11. 20.00

BRUNECK, UFO

10.11. 18.00

BOZEN, Stadttheater Gries

Text: Brigitte Knapp
Staging:
Katja Langenbach
Choreography:
Anastasia Kostner, Tobias Spori, Martina Marini
Performers:
Luka Oberhammer, Brigitte Walk, Konrad Hochgruber, Martin Carnevali, Anastasia Kostner, Tobias Spori
Ausstattung & Video:
Caroline Stark
Music:
Martin E.Greil
Production:
Tanzschmiede, Walktanztheater, Westbahntheater, gemischtes doppel

 

 

 

Tickets

Full: 12,- €
Reduced: 7,- € 
(Students
< 26 and Senior > 65)

MARGIN I first came across Pina Bausch in the film “Klage der Kaiserin”, an extreme work that left an indelible mark on my memory, with its artistic essence, its apparently disconnected characters lost in a space that turns from real to surreal, and the marginal, fragmentary figures. With this performance I return to the subject of what is marginal, borderline or constrained. How should the confines between things be defined? What is my condition now as a human being? What does being borderline mean? Must marginality always be the product of oppressive structures, or can it also be a deliberate form of resistance, a space of radical openness?

Santija Bieza - Santija Bieza was born in Latvia. She studied theater production at the University of Rome 3 (D.A.M.S.) and at the University of Rennes, during which she also worked as a dancer, performer, and actress for various productions. Her work is largely influenced by performance-arts in which various modes of expressions are utilized. She lives and works in Bolzano.

Supported by Abteilung für Deutsche Kultur der Autonomen Provinz Bozen, Centro Residenze Artistiche Passo Nord - Cooperativa Teatrale Prometeo

RUTH Ruth provides a glimpse of the ancestral fear of time, decay and death; and it is also a journey towards acceptance of such realities. The performance involves an elderly woman who tells her tale with gentle awareness and a touch of melancholy. The audience is thus invited to identify with the story, regardless of age differences. This is a homage to old age and an appeal for considering it as a stage of life to be discovered, rather than a form of illness. As such the piece suggests how to make the best of the present. In Ruth I use music, text and video to create a dance performance that interacts with the audience, involving its members in the essence of the story..

Giulia Tornarolli was born in Bolzano in 1992. She studied at NSCD in Leeds (UK) and took a Diploma at SEAD in Salzburg. In 2015 she co-founded the collective La Otra Familia, performing with it in various European festivals. She also works freelance in the fields of dance, opera and cinema. During the course of 2019 she has been busy with the National Opera in Amsterdam, as well as working with the Swiss company Panorama Dance Theater and developing her own artistic research projects.

Thanks to Elisa Darù, Giulia Manzato, La Otra Familia, Nicolas Franciscus

MY FATHER'S JACKET My Father’s Jacket derives from the concept of frequency: respiratory frequency, cardiac frequency, and above all sound frequency. Music is frequency, because sound is essentially a sinusoidal wave. Only very rarely can we see or perceive sound waves, though we can feel them. In the propagation of sound the air particles vibrate with a determinate frequency, and as it evolves the sound wave produces phases of greater concentration or rarefaction of the particles, and thus of varying air pressure. But even solid bodies and liquids vibrate and can propagate sound through the vibration of their molecules. The same is true for our bodies. What I’m interested in is examining feelings, physical sensations and their repetition. I would like this choreography to be an “open system” that places the body in permanent contact with the environment.

Elisabeth Ramoser trained at the Academy of Fine Arts of Perugia. She later attended numerous courses and masterclasses including the Dance Works in Berlin, the SEAD in Salzburg and the Young Batsheva Ensemble. Since 2010 she is working as a dancer mostly in Germany and Italy.

 

 

 

PERFORMANCE / TANZTHEATER

MARGIN

Santija Bieza (LT/IT)

RUTH

Giulia Tornarolli (IT)

MY FATHER'S JACKET

Elisabeth Ramoser (IT)

27.11. 2000 

MUSEION, BOZEN


MARGIN
Concept:
Santija Bieza
Choreography: Santija Bieza
Performer: Santija Bieza
Costume: Santija Bieza
Photos & Video: Santija Bieza
Cut: Marco Sonna
Music: eseleptitun-hypothalamus|sobodo|mupunzel

 

RUTH
Concept:
Giulia Tornarolli
Choreography: Giulia Tornarolli
Performer: Giulia Tornarolli
Photos: Nicolas Franciscus
Music: Mattia Malerba
Lights design: Carlo Quartararo

 

MY FATHER'S JACKET
Concept:
Elisabeth Ramoser
Direction and choreography: Elisabeth Ramoser
Performer: Elisabeth Ramoser
Photos + costume: Elisabeth Ramoser
Production: Elisabeth Ramoser & Co
Lights design: Elisabeth Ramoser, Carlo Quartararo

 


TICKETS

Full: 12,- €
Reduced: 7,- € 
(under 26 and over 65)

PARTITURA AL ROVESCIO: I have created a performance that is like a collage of stories, of living tales. Each element is an emotion, a feeling told through dance, words, actions, a sort of score that involves body, voice and intent. It’s also a reverse score, however, because this tale doesn’t begin with birth, but with death, moving backwards to conjure up awareness of the fear, pain, confusion, happiness, tenderness, serenity and all the other feelings that belong to the life of every individual. Those same feelings that were the focus of Pina Bausch and her theatre: the dismay that remains at the end of the terrible story of Bluebeard, the pain portrayed in Café Müller, or the “sentimental lesson” learned within the walls of Kontakthof. 

Stefania Bertola, dancer, choreographer and teacher, trained as a dancer in Bolzano. She then pursued her study path in various cities including Berlin, New York and in Israel where she spent a period at the Kibbutz Contemporary Dance Company (IL). She then improved as a dancer and teacher at CIMD (International Center of Movement and Dance) in Milan.

Thanks to Compagnia TeatroBlu

LA BAMBINA IMPERTINENTE A rite is an action on the part of a group or an individual that obeys rules of its own. This is the starting point of a performance involving a choreographic sequence that comes across as a rite with the power to bring out the inner strength of the individual. Human beings are constantly torn between what they really desire and what they feel or know they should do. In each of us there is a hidden world that society makes us repress. Through dance, however, this shadowy inner universe can come to the fore, revealing the darker side of our natures. 

Born in 1985 in Merano, Francesca Ziviani studied dance in Bolzano, Rome and at the Conservatoire in Lyons. Over the past decade she has worked with various French choreographers, including Jean Claude Gallotta, Olivier Dubois and Annie Vigier/ Franck Apertet. Since 2016 she has also developed her creative projects with the group “Sens Interieur Brut”.

Thanks to Centre Chorégraphique de Roubaix, Point Ephémère.

TANZTHEATER

PARTITURA AL ROVESCIO

Stefania Bertola (IT)

LA BAMBINA IMPERTINENTE

Francesca Ziviani (IT/FR)

29.11. 2000

STADTTHEATER GRIES


PARTITURA AL ROVESCIO
Concept: Stefania Bertola
Direction and Choreography: Stefania Bertola
Performers: Stefania Bertola
Photos: Photodiblu
Music: verschiedene Komponisten
Lights design: Carlo Quartararo
Costumes: Silvana Zampedri
Production: La Quinta Danza

 

LA BAMBINA IMPERTINENTE
Concept: Francesca Ziviani
Choreography: Francesca Ziviani
Direction: Sebastien Ledig
Performers: Francesca Ziviani
Photos & Video: Yang Wang photo
Music: various composers
Lights design: Carlo Quartararo
Costumes: Francesca Ziviani
Production: Sens Interieur Brut

 


TICKETS

Full: 12,- €
Reduced: 7,- € 
(under 26 and over 65)

HOW TO ASK - WIE BITTE “Textkörper” is the conflation of spoken language and bodily movement: a form of corporeal and verbal expression that is the focus of our performance. Pina Bausch once said: “I’m not particularly interested in how they move, but in what makes them move”. And this is what we aim to explore – people’s reasons for doing things, the whys and wherefores of a given movement or situation. We have concentrated our attention on asking questions as the essence of human communication.

Kollektiv TextKörper is a collective consisting of the author Greta Pichler and the two dancers Sarah Merler and Katharina Illnar. Together the three artists elaborate combinations of text and movement to offer new ways of approaching performances and common topics.

GLAUCO Glauco immerses the audience in shifting, fluid, hypnotic space in which the body is pervaded by murky slowness and swift, crystalline spirals. Like thought that succumbs to the flow of consciousness, the body goes astray, then returns to its path. Here “sense” does not essentially imply linearity, but rather the truth that emerges from the body as it ceaselessly changes and renews itself. Space is like a bubble full of heavy water in which the body never sinks to the bottom. The performance derives from the book “Água viva” by the Brazilian writer Clarice Lispector, in which a painter invests words rather than her brushes and colours with the story of her innermost self. In the novel painting becomes writing, whereas in this performance writing becomes embodiment.

Born in Bressanone, Sabrina Fraternali obtained a diploma in Dance Theatre at the Civica Scuola di Teatro in Milan. She works as a freelance author, dancer and actress in Italy and abroad.

Supported by Team coreografico Laagam, Associazione Verastasi - Progetti per la Scena, Periferie Artistiche - Centro di Residenza Multidisciplinare della Regione Lazio.

WIESEN This is a solo work featuring the simultaneous projection of a video and a live performance on stage. The subject of the video is a sort of “duet” between a woman and a cow, both confined within an enclosure built by someone else. In the live performance, on the other hand, a woman dances while gradually building her own personal enclosure made out of golden pine cones that end up by separating her from the audience. Just as the cow gazes at the world beyond its enclosure, so the immobile audience looks on at the performance on stage. Being observed makes people feel uncomfortable and oppressed, urging them in various ways to fence themselves in.

Greta Schuster studied contemporary dance at the London Contemporary Dance School and at Anton Bruckner University in Linz. She lives and works as a freelance artist and dance-teacher in Berlin. She has worked with choreographers such as Rick Nodine, Rachel Young and Xinxin Song.

3 PERFORMANCES/TANZTHEATER

HOW TO ASK - WIE BITTE

Kollektiv Textkörper (IT/AT)

GLAUCO

Sabrina Fraternali (IT)

WIESEN

Greta Schuster (IT/GB)

30.11. 2030

DEKADENZ, BRIXEN

HOW TO ASK - WIE BITTE
Concept:
Kollektiv Textkörper
Photos & Video:
Kollektiv Textkörper
Music:
Kollektiv Textkörper
Choreography:
Katharina Illnar, Sarah Merler
Performers:
Greta Pichler, Katharina Illnar, Sarah Merler
Text:
Greta Pichler
Lights design:
Carlo Quartararo
Costumes:
Rupert Stockinger

 


 

GLAUCO
Concept: Sabrina Fraternali
Choreography: Sabrina Fraternali
Performer: Flora Orciari
Music: Charlotte Vuissoz & Enrique Spacca
Lights design: Carlo Quartararo

 

WIESEN
Concept: Greta Schuster
Choreography: Greta Schuster
Performer: Greta Schuster
Lights design: Greta Schuster
Costume: Greta Schuster
Photos & Video: Sonja Stampfer
Music: Felix Vogelgesang

 


TICHETS

Full: 15,- € 
Reduced: 10,- €
Students under 25: 5,- €

 


Die Ticketvorbestellung für dieses Event wird unabhängig von unserem Portal, direkt von Dekadenz-Brixen verwaltet.
Durch klicken auf den untenstehenden Link, gelangen Sie direkt auf die Vorbestellungs-Seite von Dekadenz-Brixen.

 

Hier klicken, um zur Ticketvorbestellung zu gelangen.

KONTAKT & VERANSTALTUNGSORTE