28 – 30 December 2017 at L’Arsenic Lausanne, Switzerland
with Giacomo Calabrese, Simon Henein, Chantal Langlotz, Lukas Langlotz, Susanne Martin, Alexandra Mcdonald, and more
Photos: Giacoma Calabrese, Simon Henein
-15 – 21 October 2018 dancer training and performances for VARIA Festival Göteborg, Sweden
– 23 – 24 July 2018 Workshop Bad Performance For Shy Artists, transart institute, summer intensive Berlin
– 29 May – 6 June 2018 CI Workshop Watch Us Dance, Ukraine CI Festival, see website ci-ukraine.com/wpWatch Us Dance,
– 24 – 25 March Workshop Grundlagen somatische & künstlerische Forschung / Dokumentation, S. Martin & A. Keiz, somatische Akademie Berlin
-18/19 November 2017 Workshop and panel talk Body & Milieu Body IQ Festival, Somatische Akademie Berlin
Susi & Gabi’s Salon
Susanne Martin & Gabriele Reuter (Berlin) revive a European tradition that dates back to the 17th century; a salon is a gathering of people under the roof of an inspiring host (Susi & Gabi as Salonnières do their best to inspire!), held partly for amusement and partly to refine taste and increase the knowledge of the participants through conversation. In dialogue with invited guests and the audience, these evenings revolve around the phenomenon of Improvisation as performance, choreography and research.
first published in Mapping Dance Berlin 2018
Description of the setting and the idea of the format
The latest edition of Susi & Gabi’s Salon marks the beginning of the Tanzfabrik showcase series “Open Spaces” from November 1-6, 2017. Two of the performance groups invited to the showcase can already present their work here and put it up for discussion. The salon, as designed by Susanne Martin and Gabriele Reuter, is based on a long tradition and – in addition to its humorous and artistic dynamic and quality – is socio-politically, feministically and educationally motivated.
The format follows a clear and transparent process comprising ten stations:
1. Welcome; 2. Warm-Up; 3. Transition; 4. Performance; 5. Talk over drinks; 6. Body work of the day; 7. Performance; 8. Improvisation ‚positioning of my art‘; 9. 100 questions and 3 answers; 10. Audience award.
(How) does the format work? The evening starts at 6 pm and ends at 8 pm in an informal conversation. Among the approximately 50 guests, there are five without a dance background and just as many who rarely or never dance. (This information resulted from questions that the audience was initially asked to provide and to write down on distributed sheets of paper. The audience immediately began a lively conversation and also asked each other questions, among other things about their individual backgrounds.)
Welcome: Directly at the entrance we soon see from the stage, costumes, lighting and music that we are in a salon: the warm light, the waltz music, the sequin jackets and the pleated skirts of the two salonnières as well as their distinctive pearl necklaces create an atmosphere in which the group will partake for the next two hours. By contrast, the bare feet of the hostesses contrast with the historicizing salon attributes and clearly distinguish our situation as being embedded in contemporary art and society. In the welcoming part, the language question is quickly clarified: the language of the evening will be English, due to the international guests that are present. Guests will be informed of the evening’s progress (a flipchart with the schedule will be visible throughout the evening) and given a task: to record questions during the evening that may arise from the presented verbal or choreographic content (between a clear distinction is made between “real” and “rhetorical” questions). These questions will be collected in Phase 9 of the evening, but only a few will actually be answered. Afterwards Reuter and Martin select a representative from the audience, who at the end of the evening may present the Audience Award (two lemons) for two particularly successful “aspects” of the evening.
Warm-Up: Reuter and Martin increasingly integrate language into their warm-up, which initially begins as a purely physical contact duo, until they each present a striking anecdote from their studies: Reuter recalls a lesson from her lecturer, who had explained the significance of the audience for the essence and effect of art: “The artwork becomes animated because you look at it.” Martin talks about the notion of the “aspect” in Wittgenstein: An “aspect” always occurs when there is a change in thinking or in perception – an “aha moment”. In this phase of the salon evening, therefore, a kin-aesthetic-intellectual warm-up occurs, which both conveys information and invites active thinking and participation.
Resonance: The following stations are dedicated to theworking methods of the two invited artist groups: MartinSonderkamp/Darko Dragičević and Shannon Cooney with her team. From this phase of the evening I would like to mention the idea of the “responses”: After both groups showed each other an excerpt from their current productions, Reuter and Martin spontaneously stepped onto the stage and performed a “resonance”, which they attribute to their subjective memory as a moment from the presented material. In so doing, they present what they have personally perceived and experienced for all of us, what they remember and what they can do with their bodies. The theoretical concepts introduced at the beginning of the co-creative power of the art-recipients as well as the aesthetic experience of an aspect can be practically experienced here. On the other hand, both artists’ groups present their works in a way that actively involves the audience directly: Martin Sonderkamp asks half of the audience to leave the studio for a while, so that he can provide the other half information about the production. In this way, he wants to discover how being informed can augment or affect the visual experience. After the performance, both audiences can exchange their own visual experiences with a glass of sparkling wine and pretzel sticks. A lively “working break” is the result. Shannon Cooney, on the other hand, asks all interested parties to take the stage and initiates a five-minute somatic session in which we practice three-dimensional vision with our eyes closed. This sensitization not only has a pleasant, personal effect, but also prepares you physically and atmospherically for the subsequent part of the performance.
Positioning: The subsequent eighth session of the evening invites all participating artists to reflect on themselves and their art through the terms “improvisation”, “material”, “movement”, “dance”, “choreography”, “vision”, “relation”, etc. The terms are written on cardboard boxes and quickly invite all to partake in a group improvisation, in which different meanings and definitions arise through different arrangements – and are dissolved again.
Is the format transferable? The person in the seat next to me says goodbye at the end of the salon with the words “Now everything’s even more complicated for me than before! But it was exciting!”. In this sense, I can fully recommend the format for other productions, especially as a prelude to smaller festivals.
Maren Witte, Dr. Phil, is professor for theatre theories, dance and movement research at Hochschule für Künste im Sozialen, Ottersberg, Germany.
– 27 June 2018 Performing Ambiguity a danced lecture, Chichester University, UK
-5 May 2018 Improvising Age(ing): a danced lecture, Kiev, Ukraine
-7 April 2018 Learning. Teaching. Dancing. An interactive danced lecture, Tanzfabrik Berlin
– 14 – 16 February 2018 Die Vieldeutigkeit von Alter(n) performen: a danced lecture
6. Werkstattgespräch des interdisziplinären Arbeitskreises Ambivalenz: Altern und biographische ÜbergängeGoethe Universität Frankfurt am Main
have a look at vimeo.com/album/3608339/
Diese Webseite ist weitestgehend auf englisch, alle Beiträge, die deutsche Texte beinhalten, sind hier versammelt.
Susanne Martin (PhD)
is a Berlin based artist, researcher, and teacher in the field of contemporary dance and performance. She works internationally as soloist and in collaborative settings. Her artistic practice and research focuses on improvisation, contact improvisation, narrations of the aging body, humour and irony in dance, artistic research methods, and improvisation-based approaches to learning, knowledge production and knowledge dissemination. Her book Dancing Age(ing): Rethinking Age(ing) in and through Improvisation Practice and Performance has been published by transcript in 2017.
Susanne Martin (PhD) is a researcher, choreographer, performer, and teacher in the field of contemporary dance and performance. Her work is presented internationally.
In her research and artistic practice she focuses on improvisation as a crucial practice within the contemporary performing arts, artistic research methods, and interdisciplinary improvisation-based approaches to learning, knowledge production and knowledge dissemination.
In her teaching for professional artists and performers she currently focusses on contact improvisation, instant composition, improvisation-based workout, age politics, and artistic research methods. In her teaching for students and researchers from other fields she supports embodied learning, somatic sensibility, age reflexivity, and performance skills through improvisation practices.
She has been a guest lecturer at the following academic institutions: Middlesex University, UK; University of Northampton, UK; University of Roehampton, UK; Bowdoin College Brunswick, USA; Budapest Contemporary Dance Academy, Hungary.
Selection of recent activities
In 2017 she published her doctoral thesis Dancing Age(ing): Rethinking Age(ing) in and through Improvisation Practice and Performance. This university funded PhD research argues that specific approaches to a long-term, open-ended dance practice, alongside critical images and new imaginations of age(ing) in performance, allow dance to evolve as an age critical arts practice (PhD completed 2016 at Middlesex University London).
Since 2018 she teaches artistic research methods at Somatic Academy Berlin.
Since 2011 she curates, hosts, and performs Susi & Gabi’s Salon in collaboration with choreographer and urbanist Gabriele Reuter. In dialogue with invited guest artists and the audience these participatory Kunstvermittlung events (médiation artistique) revolve around the practices, working methods, and audience-performer relationships in contemporary dance and improvisation-based performance.
In collaboration with the musican Marlène Colle she curates and hosts 7 minutes of fame, a monthly performance evening that brings together dance, poetry, pop, experimental music, and performance art in a traditional Berlin corner bar (since 2016 ongoing).
Her piece Von der Schönheit und Seltsamkeit des Anlehens, co-choreographed with Eliane Hutmacher won in the German national competion Tanztreffen der Jugend 2017.
She creates stage works since 1990……
|2011 – 2016||PhD research at the Universities Northampton and Middlesex, UK|
|2007 – 2009||MA research at Hochschulübergreifendes Zentrum Tanz Berlin, Germany, Master of Arts “Solo/Dance/Authorship”|
|1992 – 1994||postgraduate studies dance at Folkwang University Essen, Germany|
|1987 – 1991||dance teacher studies at Rotterdam Dance Academy, Netherlands|
22 June 2017, group improvisation performance of the teachers at Bucharest Contact Improvisation Festival, with Steven Batts, Inna Falkova, Elisa Ghion, Sergey Golovnya, Susanne Martin, Virginia Negru, Adrian Russi, Alexandra Soshnikova, venue: CNDB (Centrul Național al Dansului Bucuresti)
-29 November 2017 live acts, moving bodies, and the sharing of time and ideas: a danced lecture, artistic research conference, Swedisch arts council, Stockholm
– September 2017, Searching for the Fountain of Age – a danced lecture, Colloquium on
Artistic Research in Performing Arts (CARPA), Theatre Academy and the
Academy of Fine Arts of the Uniarts Helsinki, Finnland
-7 July 2017, Improvising Age(ing) or dancing around the fountain of youth and the
fountain of age – a danced lecture and workshop, Dance & Somatic
Practices Conference, Centre for Dance Research (C-DaRE) Coventry
-29 June 2017, Dancing Age(ing) as Artistic Research, Embodied Practice and Artistic Research: Debating European Artistic Doctorates in Dance and Performance, Seminar organised by Artistic Doctorates in Europe (ADiE), RESEARCH PAVILION: UTOPIA OF ACCESS, Biennale di Venecia 2017, Research Pavilion, Theatre Space
-29 April 2017, Dancing Age(ing): Strategies for Rethinking Age(ing) in Contemporary
Dance, ENAS Conference: Cultural Narratives, Processes and Strategies
in Representations of Age and Aging, University of Graz, Austria
Photos: Etienne Girardet
Lehnen, federn, fallen, berühren, ausstrecken, anschmiegen, ausklappen einsacken, hinfläzen, auftanken. // 8 junge Menschen, ein Sofa, viel Raum für Kontakt und für eigensinnige Versuche des Anlehnens und Abhebens. // Es entstehen schöne und seltsame Beziehungen zwischen Körper und Körper, zwischen Körper und Boden, Körper und Sofa, Körper und Raum. // VON DER SCHÖNHEIT UND SELTSAMKEIT DES ANLEHNENS ist das erste Tanzstück des neuen ACADEMY Produktionshauses. Es ist entstanden aus dem Bewegungsmaterial der Akteur*innen, improvisiert und verabredet, bequem und unbequem, bewegt und eigenwillig.
Akteur*innen: Anna Simonsmeier, Bernadette Schnabel, Felipa Goltz, Han Nguyen, Jacob Ernst, Katharina Dittrich, Klara Kruse Rosset, Larisa Brettingham-Smith
Choreographie: Eliane Hutmacher und Susanne Martin
Künstlerische Beratung: Rachel Hameleers Produktion: Ronja Hinz
ACADEMY. Die Bühnenkunstschule für Menschen aller Kulturen von 13 bis 19 Jahren. Ein Projekt der Alten Feuerwache und der Gasag. Unterstützt von der Kreuzberger Kinderstiftung und der Stiftung am Grunewald.
Das ACADEMY Produktionshaus ist eine Produktionsstätte von, mit und für jugendliche Bühnenkünstler*innen. Es möchte Zuhause und Plattform sein für Bühnenexperimente aller Art. Ob Tanz, Schauspiel, Gesang oder alles vermischt zu einem Ganzen mit, mit voller Energie und ganzem Einsatz kommen hier professionelle Bühnenkünstler*innen, aber auch junge Macher*innen und vor allem Jugendliche der ganzen Stadt zusammen und produzieren Vorstellungen: Interdisziplinär, möglichst experimentell in Form- und Zielsetzung und mit einem ausgesprochen künstlerischen Ansatz. Mitmachen können alle ACADEMYs, das heißt alle, die das Basisjahr an der Bühnenkunstschule abgeschlossen haben.
Premiere: 30. März 2017, Alte Feuerwache Berlin
Photos: Etienne Girardet
-10 April 2017, deluxe expérimental performance! at Merlin’s Berlin, venue: Maze, Berlin Kreuzberg
-06 April 2017, Understanding Dance for Beginners and Intermediates: after Loie Fuller at 7 minutes of fame, venue: Stammtisch, Berlin Neukölln
A mixed performance evening curated by Marlène Colle and Susanne Martin at good old Eckkneipe „Stammtisch“ in Berlin Neukölln. Roughly once a month. Each time an astonishing line up with acts of maximum 7 minutes length, performers wild and tamed, minimalists and exhuberants, newcomers and Wiederholungstäter*innen, auf Deutsch oder Englisch oder. Original music, dance, poetry, stand up, science, performance art……
Info: check the facebook group ‚7 minutes of fame‘ or facebook page ‚Stammtisch‘
Next dates: 6 April, 18 May, 8 June 2017
You want to perform: write a mail to me and Marlène
Photos by Max Vaupel.
Workshops and Training Sessions:
Generally speaking, I teach what I embody as dancer and performer. I teach what I know most about, what I learned and still passionately study. So I design my dance teaching around one of the following 3 focal points
– contact Improvisation,
– improvisation and composition for performance (group-duet-solo),
– improvisation-based workout
now that I finished my PhD I will finally make time to develop a series of thematic seminars that combine practical and theoretical inputs and explorations with the participants.
– artistic research;
– improvisation as exploration, as performance, as research;
– showing process on stage;
– dance and narration;
– relating to audiences;
– subjectivity: made of transitions and (un)coordinated changes
– undoing age appropriateness;
– improvising age(ing);
– performing age(ing);
I keep developing the hybrid format of lecture performance.
I’m staging, dancing and discussing aspects, entrances and excerpts of my dissertation Dancing Age(ing).
– For past lecture performances go to „Research“ in the menu.
– Understanding Dance for Beginners and Intermediates is a series of 7 minutes mini-lectures I perform during my monthly mixed performance night 7 Minutes of Fame (curated together with Marlène Colle).
Coaching / Supervising:
I started to support individuals and groups in developing their respective artistic/research practices. I’m supporting processes of performance making, I’m sharing inputs, tools and strategies from dance, theatre, and from my personal experience with collaborative artistic/research practice.
– 7 Dec 2016, Performing Age(ing): Sliding through Time – a danced lecture, Academy of Music and Drama, University of Gothenburg, Sweden
-1 Dec 2016, Performing Age(ing): Sliding through Time – a danced lecture, SITE, artistic platform and production house for contemporary performing arts, Stockholm, Sweden
-29 Nov 2016, Performing Age(ing): Sliding through Time – a danced lecture, swedish research council’s symposium on artistic research, Linnaeus University Växjö, Sweden
A recomposing of the opening scene of my solo The Fountain of Age (2014)
-14 October 2016, Body IQ Festival, Somatische Akademie, Berlin
-15 October 2016, Tatwerk Berlin
Susanne Martin and Alex Nowitz
Premiere: July 7, 2016, at festival Improvisation Xchange Berlin – berlin arts united at Dock 11, Berlin
Duration: 60 min
An interdisciplinary dialogue between two artistic research projects, one based in dance, the other in voice/live electronics
(spoken language English)
In this three-part performance Susanne Martin and Alex Nowitz each share, explain, and perform aspects of their respective research for the other and for the audience. Susanne’s research “Dancing Age(ing)” rethinks age(ing) critically in and through improvisation practice and performance. With “The Multi-Vocal Voice” Alex traces the potentialities for the contemporary performance voice without and with technological means, i.e. live electronic instruments. Finally they enter into a duet improvisation in which they allow their ideas and modes of performing to merge, interact and possibly inspire each other.
I SEE RED / Interventions
An improvisation event by Peter Pleyer and Michiel Keuper
Guests: Zen Jefferson, Andrea Keiz, Susanne Martin
Dock 11, Berlin 11. – 13. March 2016
Inspired by the history of interventions by artists and designers in the field of choreography and vice versa, dancer/choreographer Peter Pleyer and visual composer/designer Michiel Keuper use this series of performances to improvise new space and dance compositions based on their long-term collaboration. On Friday and Saturday they will be joined by video artist Andrea Keiz and dancer/choreographer Susanne Martin. With a focus on process, the audience is invited to witness the creation of a landscape of objects, costumes, dances, books, stories and images.
Photos W. Gillingham Sutton
A Solo / Dance / Piece / Lecture / Performance
Premiere: 18 June 2015, Ravensfield Theatre MIddlesex University London
Duration: 40 min
Supported by: Middlesex University London, Tanzfabrik Berlin
The Fountain of Age tells an ambiguous and ironic tale of age(ing). Through a collage of scenes in which dance, text, costume, mask work, and music interrelate, the piece aims to counteract any simple ascertainment of youth and age.
Ambiguity is emphasised in this performance to see what can be learned when we complicate and question our ideas, expectations, and judgements around age(ing). What happens if we linger in the multitude of sensual, imaginative details of bodily doing, experiencing and showing, and in the multiple possible meanings of age(ing)? How can dance introduce less stereotypical and more complex perceptions of age(ing) and moving through time?
This solo performance constitutes one of two artistic outcomes I present as part of my PhD dissertation Dancing Age(ing) at the School of Media and Performing Arts.
23.10. 2015 Middlesex University London
‘TIN Pieces’ is a playful evening of improvised performance by members of the TransDisciplinary Improvisation Network (TIN) based at Middlesex University and their guests.
Exploring processes of instant composition, within and across dance, music and theatre the event promises to be a lively celebration of all things spontaneous. The evening is shaped through a chain like structure in which ‘scored’ improvisation pieces are linked by open ‘riffing’ spaces alongside interactions with the audience, who will have opportunities to shape the emerging improvisations.
Including world class performers in Music (Ben Dwyer, Garth Knox, Jonathan Impett and Simon Limbrick), Dance (Susanne Martin, Jovair Longo, Helen Kindred) and Performance (anthologyofames collective), TIN pieces emerge from shared interests in improvisatory processes and play, feedback loops, fear and vulnerability, touch and embodied knowing.
With: Mariana Camilotti, Antonio de la Fe, Ben Dwyer, Peter Gomes, Jonathan Impett, Helen Kindred, Garth Knox, Simon Limbrick, Jovair Longo, Susanne Martin, Vida Midgelow, Maga Radlowska, Petra Söör, Robert Vesty,
The Performance is part of The Cultural Capital Exchange, Inside Out Festival, and ‘What’s in a Name?: Improvisation Symposium (Oct 23rd & 24th, Middlesex University)
Photos Steffen Rüttinger
A series curated by Gabriele Reuter
Das Wagnertrio: Susanne Martin, Anna Melnikova and Gabriele Reuter
02 August 2014 – Staging Age
Lecture-Performance at Festival Performing Presence – Improvisation Xchange Berlin, Venue: EDEN Studios, curated by Jenny Haack, see also website berlinartsunited.com