Anarchy Dance Theatre

الفوضى الرقص المسرح
无政府状态舞蹈剧场
תיאטרון מחול אנרכיה
アナーキーダンスシアター
무정부 댄스 극장
Seventh Sense
Seventh Sense is the collaborative project between Anarchy Dance Theatre and Ultra Combos focusing on building up a new viewer centered performance venue. In this space all movements including the dancers’ and audience’s can be detected and interact with each other through visual effect. The audience is not merely watching the show but actively participating in it. Seventh Sense combines new media and dance to present a wonderful space atmosphere. The elements of interaction, theater and dance are rubbed in to a successful balance. by Sakai Naoki.
Photographer: Shou-cheng LIN

Ouchhh

H OM E OMOR PH ISM

Dome A/V Performance

A homeomorphism, also called a continuous transformation, is an equivalence relation and
one-to-one correspondence between points in two geometric figures or topological spaces
that is continuous in both directions.Many forms observed in nature can be related to geometry. In accordance with classical geometry,the shapes that found in nature are consisting of lines and planes, circles and spheres,
triangles and cones. These shapes actually are a powerful abstraction of reality, so we need primitive objects to give a form and understand the complex structure that exists in nature.

 

Malin Bülow

马林·比洛
マリンビューロー
말린 블로우
Μαλίν Μπάλοου
Elastic Bonding
This vertical version of Elastic Bonding was made site specifically for the Project Space at Lademoen Kunstnerverksteder in Trondheim. It was shown as part of Multiplié dance festival, an annual festival of contemporary dance in Norway. The project was a collaboration between Babel visningsrom and DansiT.

yvonne rainer

Trio A
Dancer, choreographer, filmmaker, and writer Yvonne Rainer is one of the most influential artistic figures of the last 50 years. Her work has been foundational across multiple disciplines and movements: dance, cinema, feminism, minimalism, conceptual art, and postmodernism.

Jeremy Shaw

towards universal recognition

“Shaw  presents Towards Universal Pattern Recognition, a series of archival photographs framed under custom-machined prismatic acrylic. The works, which he calls optical sculptures, depict people in transcendent states accessed through prayer, dance, yoga and the like. They act as a preview to the videos, which are projected in meticulously constructed spaces, each with eight office chairs facing a single screen.” Diana Hiebert

Jesper Just

CORPORÉALITÉS
Corporealités is a large-scale work exploring the autonomy of ballet through the immersive elements of sculpture and video. At the heart of a piece is Just’s film, displayed across a series of LED-panels strewn about the space, where close up shots of dancers from the American Ballet Theatre show their bodies affixed to electrotherapy patches. As the muscles displayed on the panels contract, notes of Fauré’s Op. 50 seem to play in tandem, providing an ominously invisible link between the film and physical space.

Katja Heitmann

Eggs Are Good For Your Hair
Katja is inspired by the influence of everydays’ digital technologies on society and with that the arising questions about the identity of our human body. She fuses everydays’ technology, the dancers’ body and the presence of the audience into unconventional performances. Who moves who?

Elisabeth Chojnacka

Henryk Górecki
Concerto for Harpsichord and String Orchestra Op. 40
Harpsichord: elisabeth chojnacka

Less than nine minutes long, the bipartite Concerto for Harpsichord (or Piano) and String Orchestra, which the composer sometimes called a “prank”, is a veritable volcano that carries the listener away from the very first bars with its immense energy. Its repetitive, motoric nature and rhythmic vigour suit the specific, slightly clattery sound of the harpsichord which is usually somewhat amplified, complemented by the chordal texture of the strings. In both parts, the mood of the piece clearly draws on the highlander music of the southern Podhale region, of which Górecki was a great admirer. In the context of his monumental sacred music from the same period, this Concerto is like the artist’s brief “respite”. It reflects the whirl and “profane” energy of a folk dance.
Elżbieta Chojnacka, to whom the piece was dedicated, has always stressed that every performance of the Concerto, which she has played throughout the world, ends with an encore. The piece meets with such acclaim from the audience, and is one of the most striking – and most joyful – compositions in the composer’s output. “A spectacular plaything”, as the musicologist Teresa Malecka has described the piece.

Merce Cunningham

简宁汉
מרס קנינגהם
マース·カニングハム
머시 디스 커닝햄
МЕРС КАННИНГЕМ
« Scenario » de Merce Cunningham
Rei Kawakubo’s humorous costumes toy with the idea of physical distortions, such as humps and big rear ends. They are in mostly vertical blue stripes on white, or in pale green and white-checkered patterns. For much of the dance, five or six dancers twist and pose, each in his or her own space, with a rush of additional dancers to the stage toward the end of the performance. The bold electronic musical score is by Takehisa Kosugi.

Eve Bailey

ИВ БЭЙЛИ
ENTASIS DANCE IV
My work is based on the concepts of balance and coordination. The body interests me as a perceiving mechanical structure. I use my own body as a primary tool to create pieces that experiment with equilibrium through physical, mechanical, plastic and conceptual means. My studio practice is rooted in the tradition of the artist engineer. I design and build suspended and pendular constructions that can sustain their own weight and mine as I perform with them. By climbing and inverting on the structures, I challenge my own perception and creative process.

SANKAI JUKU

山海塾

butoh

TOBARI

“Over the 90 minute performance, I feel no less than transported. There are eight male performers, including Ushio Amagatsu himself. The dancers often move slowly, with incredible muscular control, fluidity and elegance. And suddenly the spell will be broken and they’ll run across the stage, their painted bodies leaving clouds of white powder hanging in the air like a shadow or ghost. Slow sustained movements are countered with tiny, minute gestures of the fingers. Hands are often gnarled, the joints contorted with incredible tension. It is mysterious, hypnotic and strange. The countenance of the performers is most arresting – behind the white paint, their faces reveal the fragility, humility, vulnerability and truth of their humanity.”Day Helesic

Vitor Freire

Projeto IJO
FILE SAO PAULO 2015 FILE LED SHOW
“IJO” means dance in Yoruba. The project was born inside a series of actions with the objective of reframing the place of dance and a re-appropriation of the public spaces. Adapted to FILE FESTIVAL, the project unfolds its initial ambition, painting the walls and buildings of the city with dancing. By positioning themselves in front of “IJO”, the participants will have a visual representation of their bodies exhibited in real time on the FIESP building. Dance to tell who you are.

DUMBTYPE

LOVERS
Computer-controlled, five-channel video/sound installation with five video projectors, eight-channel sound system, and slide projectors […] As an image, a pair of lovers often suggests a castle of exclusion. With the sexual liberation of the last few decades, the word now has more to do with physical coupling than with the sublimity of “true love.” AIDS has added a new dimension of wariness to this pairing. The life-size dancers in Lovers are drained of life. Projected onto the black walls of a square room, the naked figures have a spectral quality. Their movements are simple and repetitive. Back and forth, they walk and run with animal grace. Their actions become familiar over time, so that it is a surprise when two of the translucent bodies come together in a virtual embrace. These ostensible lovers–more overlapping than touching–are not physically entwined.

Katja Heitmann

Me, My Selfie and I
Katja is inspired by the influence of everydays’ digital technologies on society and with that the arising questions about the identity of our human body. She fuses everydays’ technology, the dancers’ body and the presence of the audience into unconventional performances. Who moves who?

ELEVENPLAY x RZM

Discrete Figures
‘Discrete Figures’ unites the performing arts and mathematics in a dramatic exploration of the relationship between the human body and computer generated movement (simulated bodies) born from mathematical analysis. As an additional layer of complexity, the performance piece utilizes drones, A.I., and machine learning in the quest for a new palette of movement to foster undiscovered modes of expressive dance that transcend the limits of conventional human subjectivity and emotional expression.

Douglas Lee

Naiad
“Douglas Lee’s Naiad takes the audience on a fascinating journey to the depths of the ocean. Fragments of Alfred, Lord Tennyson’s poem The Kraken, a mysterious Naiad and a swarm of undulating dancers evoke the depths of an element which has long captivated the human imagination.” Stuttgart Ballet

Trisha Brown

Newark & M.G
La place de Trisha Brown dans l’histoire de la création Outre-Atlantique est unique : après Martha Graham et sa modern dance, Merce Cunningham qui dynamite les codes, Trisha Brown va s’imposer dans un courant, la danse postmodern qui a influencé nombre de chorégraphes actuels. La danse ici est jaillissante, faite de duos de plus en plus complexes avec bien sûr ce jeu des équilibres instables comme autant de coups d’arrêt au geste. Le plus souvent, sous nos yeux, un couple d’interprètes voit surgir un autre tandem dans un incessant jeu de déconstruction des lignes. Des marches, des courses, des dialogues féconds s’instaurent en scène. Newark est pour beaucoup une des grandes pièces de Trisha Brown.

La La La Human Steps

New Work
Mi Deng and Jason Shipley-Holmes perform

In “New Work” (dance), the viewer was best served by looking at the bodies’ wavering outlines, the women in strapless black leotards and tights, the men in black suits (though sometimes shirtless; costumes by Liz Vandal). Observe the strobe-like effect created by the ferociously waving arms and flexed hands, or the reflections that bounced off the ballerinas’ skin and pink toe shoes. Notice the exaggerated contours of sinewy muscles.

ANGELIKA LODERER

Angelika Loderers work is refering to the basic research of form and space. She uses fragile, everyday materials that are derived from the vocabulary of domesticity and combine them with sort of traditional sculptural techniques. In the process the play between chance and control defines the aesthetics of her work. The experimenting with attidudes – via a very specific amalgam of materials, shapes and objects- brings forth a new, metaphysical result. “In transience, fragility and decline, I see the formal expressions to which I refer in my designs, and which to some extent provide the framework conditions for my processoriented work. From the abundance on offer, however fragile and vulnerable in composition, the elements fall into place, becoming worthless once again when dismantled.”

MICHAEL CLARK COMPANY

マイケル·クラーク·カンパニー
Tate Project Part I ]

The choreography rehearsed and performed in 2010 paired the rigour of classical steps with contemporary movement, a juxtaposition that paralleled Clark’s training as a ballet dancer at the Royal Ballet, and his later anti-hierarchical, anti-authoritarian choreographic experiments. Balletic poses, jumps and steps were isolated from traditional narrative sequences and made strange through repetition. The graceful leaps and turns of the trained dancers seemed awkward and uneven, just as they were often out of sync and oriented in different directions. This choreography paralleled the performance space, which was demarcated by geometric and striped floor mats designed by Charles Atlas, which resembled the large windows at the back of the hall and the black beams that extend vertically from floor to ceiling.

merce cunningham

简宁汉
מרס קנינגהם
マース·カニングハム
머시 디스 커닝햄
МЕРС КАННИНГЕМ
centennial
Joycetheater
The Joyce celebrates the centenary of Merce Cunningham, “one of the great iconoclasts in 20th-century art” (The New York Times), who would have turned 100 this year. Three superb companies perform masterworks from the artist’s vast repertory, each danced to live music.
photo:Dean Alexander

girl walk

all day
Girl Walk // All Day is a 71-minute Kickstarter-funded dance epic set to Girl Talk’s 2010 album All Day. The piece was filmed all over New York City, which people started to figure out several months ago when a very excitable girl was spotted losing her mind on the Staten Island Ferry. The movie is premiering in 12 chunks on New York blog Gothamist from now until mid-January and is definitely worth your time (unless you hate fun).

NANINE LINNING

Endless song of silence
Nanine Linning is collaborating with renowned Russian fashion designer Irina Shaposnikova for the costumes for this new adaptation and with multimedia artist Roger Muskee for the video projections. The music is by Gorecki. In the fusion of the art forms there is a painful beauty, a longing for peace and security. Echoes of hope resound in the beautiful close-ups that are projected on two transparent film screens and blend diffusely with the live dance on stage. A wonderful metaphor for the struggle that goes with love and the farewell that follows.