Archiv des Autors: susanne

Susi & Gabi’s Salon #8 Ein Auftakt – Tanz Hoch Zwei Festival

„Die Körper des Tages – Ein Auftakt“
31.03.2012 at Tanzfabrik Berlin
Salon Gäste: Dieter Baumann, Shannon Cooney, Christa Flaig, Marion Glöggler, Kirstin Heinrich, Jutta Hell, Sophie Jahnke, Gisela Müller, Ludger Orlok, Britta Pudelko, AnnA Stein

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Photos AnnA Stein
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 This salon invites teachers of this year‘s workshop program and the Tanzfabrik team to devote their improvisations to the topic of the body in transformation. In short performances and featured exercises current practices and future dance shows are compared, adopted, celebrated, and perhaps transformed instantly. A meeting between imprography, choreosation, never asked stupid questions and impressive specialization. Susi & Gabi‘s Salon is the prelude to two weeks of further trial and error, questions and watching of physical exercises during the festival.

Der achte Susi & Gabi Salon ist ein Auftakt zum diesjährigen Tanzfabrikfestival Tanz Hoch Zwei. Dafür sind Lehrende des diesjährigen Workshop- und Performanceprogramms und das Tanzfabrikteam sebst eingeladen
sich dem Festivalthema transformatorischer Prozesse zu widmen. In kurzen Performances und vorgestellten Körperübungen werden verworfene, aktuelle und zukünftige Tanzpraxen gezeigt, verglichen, verabschiedet,gefeiert und vielleicht vor Ort transformiert.
Für Gabriele Reuter und Susanne Martin ist der Salon Auftakt zu zwei Wochen Weiterprobieren, Weiterfragen, Weiterbeobachten von Körperpraxen während des Festivals. Die Verarbeitung der Ergebnisse zeigen sie am 15.04. um 18.00 in den Uferhallen in “Susi & Gabis Salon # 9”: Die Körper der letzten Tage – Ein Abtakt
Der Salon findet statt mit Unterstützung der Tanzfabrik Berlin.

 

Susi & Gabi’s Salon #7 Plymouth

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Salon Guest: Adam Benjamin
29.11.2011 at Plymouth University

After four editions in Berlin with such wonderful guests as Amos Hetz (Jerusalem), Andreas Mueller (Berlin), Rosalind Crisp (Paris) and Hodworks (Budapest), Susi‘s and Gabi’s Salon resides this autumn in Leicester and Plymouth, meeting improvisation based artists from the UK and the famously playful and witty British audience.

Susi & Gabi’s Salon #4 The A-word: Ageing

Salon Guest: Amos Hetz
04.09.2011 at Tanzfabrik Berlin

Amos Hetz is a dancer and movement teacher, looking for expanding his movement vocabulary through the use of the Eshkol Wachman Movement Notation and the heritage of the somatic learning. He composes solo dances, dance-collaborations, and movement games. For the last 22 years he was artistic director of the „Room Dances Festival“ in Israel.   
Amos: „I understand my movement apparatus as a big orchestra of many limbs, in which each limb has its own character. It is calling me to listen to my imagination, as well as to my memory, and to my movement interests that are moving as well. The interest in the small gesture, and in the coordination between the different limbs is the motive behind all my movement activities: performing, teaching and conducting dance projects. I am swinging between the integrated movement and differentiated gestures. This process of moving my awareness from the extremities to the spine and to the shift of weight is bringing me closer to be one.”

Notes from Gabi & Susi, taken during the Salon
Born 1933 – Still dancing
Vexation
Can I say ‘old’ performer or is it rude? old = mature?  – young = immature?
Something about time and presence – Something about just looking interesting in whatever you do, because there is some life experience behind it  – Something about not being so influenced by others anymore
Vexation
Amos is dancing behind the pillar, choreographing perception, resonance – What do we do when we run out of time here? – Everyone wants to be 27 and wise and beautiful – The perception of time: Is one’s perception of time relative to one’s own age? – Interest in the small, the less  – When is an artist old? What does old mean? – The anxiety of not being fulfilled gives the sense of feeling late
Vexation
„I’m already concerned with ageing at 31“ – Velocity, speed – is there space for ‘Entschleunigung’? – Still dancing: Anna Halprin, Steve Paxton, Simone Forti, Deborah Hay

Background
Susanne: I love to see older people on stage, and I would like to become one of them myself. There are several ways to contribute to that. One is that I’m looking for ways and strategies for myself that allow me physically and creatively to keep going performing dancing as a life long practice. Another is that I’m studying the strategies and underlying concepts and ideas and circumstances of older performers who have an improvisational focus in their performance work. Because that is the field I’m working in and know the most of myself, and that is the field where I met the most exciting artists and choreographers. One of them is Amos Hetz. I met Amos through one of his choreographic projects, “Vexations” in which I participated twice (1997? and 2010).
During Vexation I experienced him as an old artist with a very specified and detailed aesthetic and interest, who nevertheless invites performers very different from himself to collaborate in his performance score. And the score he proposed, although tight and rigorous, still had gaps and spaces for our divers choreographic practices. I experienced the whole 12-hour performance, not only as a composition and meeting of all our aesthetics and motivations, but as an active negotiation between all of us. But especially between him as the director and us bringing along our own individual universes.This openness and effort of negotiation and dialogue seems to me one key of how to keep a dance practice alive through decades, through changing fashions and changing artistic values.

Susi & Gabi’s Salon #2 Berlin

100 Fragen an die Improvisation
Salon Guest: Andreas Albert Müller
04.06.2011, Tanzfabrik Berlin

In der zweiten Ausgabe ist Andreas Albert Müller aus Berlin zu Gast, den wir gebeten haben, etwas von seiner Auseinandersetzung mit Rosalind Crisps choreographischen Methoden vorzustellen.
Tanzen aktualisiert sich dauernd durch tanzendes Befragen, Denken und Tanzen laufen ineinander. Das Bewegen spannt sich auf zwischen beweglichen Begriffen vom Bewegen. Als Fortsetzung des Marathons „THEY STILL SHOOT HORSES.“ wird am 5.8. zum Stromereien – Festival in Zürich „Sog“ zu erleben sein: Mit R. Crisp, B. Wiget, L. Archetti und Müller.
‚The rules are made for when you don’t know.’ A. Morrish
More about Andreas:
www.myspace.de/beidemessies
www.myspace.com/happysystem

Susi & Gabi’s Salon #1 Berlin

Salon Guests: Hodworks (Budapest): Emese Cuhorka, Júlia Garai, Júlia Hadi, Adrienn Hód, Csaba Molnàr
08.05.2011, Tanzfabrik Berlin

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100 Fragen an die Improvisation

Ein Salon in dem sich Gabriele Reuter und Susanne Martin auf verschiedenen Pfaden dem Phänomen der Improvisation widmen: praktisch, tänzerisch, theoretisch, mit Zuschauerbeteiligung oder mit geladenen Gästen.
„Wir verstehen unsere 3 Ausgaben bis zum Sommer als Pilotphase, wollen verschiedene Formate für Auseinandersetzung und Austausch erproben, zwischen Chaos und Plan, Spiel ohne Grenzen, Imprographie und Choreosation, nie gestellten dummen Fragen und beeindruckendem Spezialistentum.“
In der ersten Ausgabe ist die Gruppe HODWORKS aus Budapest zu Gast, die gerade eine dreimonatige Residenz in der Tanzfabrik Berlin haben und sich in  ihrem Projekt „Daily Routine“ zwischen Improvisation und Choreographie bewegen. Das Showing „Choice“  im Radialsystem am 2o. Mai um  17.00 wird die  Residenz von HODWORKS in Berlin beschließen.

HODWORKS was founded by Adrienn Hód in 2007. Besides permanent members the company also invites performers from different fields of art.
The work is based on a method invented by Adrienn Hod, which focuses on the creation of new forms of movement and dramaturgical principles. Her pieces are presented in theatres as well as site specific venues.
www.hodworks.hu

 

What’s my teaching about … in 2011

My teaching today derives from my experience and ongoing practice as performer and performance maker, and my own ongoing training in dance and improvisation. Apart from this it is influenced by my education as dance teacher which I gained at Rotterdam Dance Academy (today called Codoarts) and  the two year process of completing my masters degree focussed on solo performance at HZT Berlin. Following are some of the central key words for my teaching practice and the learning process I support. Generally my dance practical teaching falls into the categories contemporary dance training, improvisation, contact improvisation, composition, performance making, performer training, instant composition.

Objectives
Gain Knowledge:
About the body in movement, about what improvisation and composition might mean, about the narrative act of performance

Enjoy the Practice:
Of moving, of improvising, of performing through playfulness and challenge

Develop and Refine Skill:
Dance skills, improvisation skills and contact improvisation skills, skills for realising a performance, skills for being on stage

Support and Train our Dance Bodies:
Through a work-out that warms and energizes, strengthens, stretches, activates, releases, and allows for enough individual variation and adaptation to help us through ever changing states of health, energy, injury, impairment, and well-being

Focuses and tasks in class
Movement:
Ways of warming up the dancing body, contact improvisation skill work, body work, use of gravity and momentum, 3-dimensionality / back space, folding / extending, modulating effort and dynamics, developing somatic and kinetic intelligence, integrating structurally effective and non-damaging movement patterns, broadening ones movement vocabulary and ability for differentiated and articulate dancing
Emphasising improvisational structures to work these themes

Composition – Choreography:
Scores. tasks, and themes for dance making, solo, duet, group work, reflecting aesthetic elements and preferences in what we do and see, studying choice, chance and necessity, organising the moving body in time and space

Performance – Narration:
Perform for each other, watch each other, frame and compose presentations in different ways, play with theatrical means beyond the body such as objects and costumes, include imagination, fantasy, storytelling, use of voice, what makes sense? what creates coherence? What affects and in which way? What’s the story of this performance? reflect / talk / write about the performances we do and see
Emphasising improvisational structures to work these themes

Work Formats:
Solo / duet / group explorations, contact improvisation, somatic hands-on work, response and feedback structures, devising, structured practice and reflection

Terms
Improvisation: My work as performing artist is strongly informed by the practice of improvisation and contact improvisation and even in my set works I’m looking for openings that allow direct and fresh exchange with partners and audience.

Artistic research: Apart from the shared processes of searching, developing and reflecting with partners in productions, courses, studies or research groups I understand it as a  very individual process  of tracking my own motives and questions that allows to move the plenitude of experiences to a more abstracted level of conscious learning / understanding. It is an individual process, no matter with how many people and in which kind of working structure I  find myself inside the field of dance.

Narration: When I consider performance as a narrative moment I am interested in questions of Vermittlung, approachability and intelligibility. A general question my teaching is concerned with is the relation and the possibilities between intrinsic movement, also called abstract or pure movement or dance, and the narratives of the moving body, build by layers of meaning, offered or subverted consciously or undecidedly, shared between the performer and the person watching. What is being told, what is being understood, what is the narrative of a piece, of a body, of a dance, of the different relationships inside the performance space? In class I’m interested to explore and reflect these questions through our performing.

Solo: I consider the idea of solo as a lonely (and therefore maybe even cathartic) process to be a myth. I did quite a lot of solos through the years, but it only started to be a satisfying and constructive form that I could build on, when I found working structures that included one or several partners, witnesses, coaches, collaborators, peer soloists…….The really interesting point is how to create these kind of collaborative structures that bring the individual solo forward. And this I want to share also in my teaching.

Work Formats/ Working Methods: I am very fortunate to regularly follow my solo performing interests and my passion for working collaborativly in long term partnerships. I also enjoy to perform under the guidance of a director as part of a contemporary theatre group. Drawing on these experiences, I guide students to explore different collaborative working formats, touching on concepts like consensus / plurality, feedback / coaching, division of tasks / hierarchies. The formats we explore will hopefully help dancers and performers to start building their own constructive collaborations and artistic futures.

 

Rosi tanzt Rosi – The Conference (2009)

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Photos Thomas Aurin
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Concept and performance: Susanne Martin
Dramaturgy: Brenda Waite
Mentoring: Andrew Morrish
Choreographic support: Meagan O’Shea
Duration: 45 min.
Supported by: Hochschulübergreifendes Zentrum Tanz Berlin, Mimecentrum Berlin, Tanzfabrik Berlin
Premiere: BAT Studiotheater Berlin July 2009
Touring: Berlin, London, Plymouth and Granada (in Spanish language)

Rosi tanzt Rosi – The Conference is a 45 min solo performance with three characters; with Rosi’s enigmatic choreographies and a round table discussion honouring, dissecting and critiquing her oeuvre; with film excerpts and movement demonstrations; with crisis and a happy end.
It’s a lecture on contemporary dance, which draws the audience into a play of dance references while reality and fiction become a question of opinion and interpretation. „The Conference“ looks at choreography and improvisation, at the narration of femininity on the dance floor and behind the microphone, and creates a complex web of identities around and perspectives on contemporary dance.

“The Conference” and the academic setting
“Rosi tanzt Rosi – The Conference” is the final piece in my M.A. studies at HZT Berlin. During the M.A. course focussing on “Solo / Dance / Authorship” I searched for a personally enriching and satisfying way to bring together my 20 years of dance and performance practice with academic research. As the piece draws attention not only to questions of contemporary dance aesthetics, authorship and historical solo figures in dance, but also to the academic art of ‘reflecting on and talking about’, it attempts to link performance practice and academia in an entertaining and thought-out way. It especially lends itself to be shown in the context of university as a proposition, as a discursive template. Many discourses of today’s performance and dance studies are touched upon in this work that I would wish to open to an engaged and informed student and staff audience for further discussion and exchange in an after-show talk.

Press: “A fleet-footed disquisition on the self-made myths in the dance-business…captivates through dance- and didactic humour.” (Die Tageszeitung Berlin)

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Photos Thomas Aurin
Foto Thomas Aurin Foto Thomas Aurin

Technical needs:
DVD player: professional (that doesn’t go into stand by mode after a few minutes in pause mode)
Projector: 4.000 / 5.000 ansi-lumen for theatre stage; min. 2.000 ansi-lumen for smaller studio
Projection screen (3×4): 300 x 225 min. or bigger, depending on size of stage
1 table and 3 chairs (conference look)
2 wireless microphones, 2 table mic-stands
Sound system / theatre lights: standard
A complete technical rider is available

 

Rosi bei Freistil – Die Kunst der Improvisation (2008/2009)

„Material zu Rosi tanzt Rosi“ Eine Soloimprovisation

Freistil at Tanzfabrik Berlin 6. 4. 2008

Was macht Tanz lesbar für die Zuschauer?
Was ist der Text eines Tanzes?
Wie erhalte ich meine Freiheit in der Improvisation, wenn ich mit klaren thematischen Grenzen und Narration arbeite?

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“Neuigkeiten aus der Rosi-Welt“ eine Improvisation von Susanne Martin

Freistil at Tanzfabrik Berlin 3.5. 2009

 

“Rosi tanzt Rosi“ ist ein Solo Projekt, dass sich durch 2 Jahre Masterstudium zieht und auch mein Abschlussstück bilden wird.
Für Freistil gibt es das Neueste von Neuen aus Rosis Welt.

 

Rosi tanzt Rosi – The Winter Version (2009)

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photos David Bergé
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Performances at Critical Path, Sydney and Lucy Guerin Studio, Melbourne in  January 2009 during the residency at Critical Path, and as semester-presentation for MA SODA at HZT Berlin at Uferstudios Berlin

„During her stay in Sydney and Melbourne she will work on her solo Rosi tanzt Rosi, dealing in it with the notion of narration in solo dance, narration in Improvisation, with aging, the female solo as 20 century’s dance, mask work, character work. She will have a  work in progress showing and a practice based research weekend with interested colleagues on these subjects, both in Sydney and in Melbourne.“ (program Melbourne)

In giving Rosi more and more history and detail without wanting to arrive at a coherent, possibly real life person, I’m at the moment seeing her as living through, as carrying with her the whole time span of twentieth century. In my process with her I meet female liberation, expressionism, World War II, entanglement with fascism, migration and survival of the first half of the century, as well as the conquest of uni-sex athleticism, of feminine seduction, of informality and quotidian movements of the second half. And I meet the end of these kind of female dances; Rosi as phased out model, a pathetic last subject on stage. (Feb. 2009)

Rosi tanzt Rosi – The July/August Version (2008)

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Photos Rita Roberto
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Performances: July 2008 at Uferstudios Berlin as part of MA SODA research showings and
August 2008 at HALLE Berlin as part of the International Dance Festival Tanz im August
Supported by: HZT Berlin

Rosi tanzt Rosi is a piece, a process, a movement towards a fictional character; it’s also my continuous research subject/object throughout my MA studies (Solo/ Dance/ Authorship at HZT Berlin). When she appeared first she was a dream figure, a projection born out of the sexual fantasies of Claudia (solo 2005). Then she became a real person, a dancer, somebody that is professionally impersonating the erotic fantasies of her audience (and by now in this job since 40 years). Then she became an ageing Rosas dancer; then an highly honoured soloist celebrating her retirement from stage at the age of 60 (January 08); then she was object to dance science (February 08). Now she’s returning to stage.

Rosi tanzt Rosi ist ein Stück, ein Stück Prozess, die Annäherung an eine Figur, auch mein roter Faden durch mein Studium. In ihrem ersten Erscheinen war Rosi eine Wunschfigur, die Projektion sexueller Träume von Claudia (Solo von 2005). Dann wurde sie zur realen Figur, eine Tänzerin, eine Person, die berufsmäßig Projektionsfläche erotischer Fantasien ist – mit inzwischen 40 Jahren Berufserfahrung. Dann wurde sie zur in die Jahre gekommenen Rosas-Tänzerin. Dann wurde sie zur hochverehrten Solistin, die zu ihrem sechzigsten Geburtstag ihren Bühnenabschied begeht (Januar 08). Dann wurde sie zum Objekt der Tanzwissenschaft (Februar 08). Jetzt widmete sie sich plötzlich (ein Comeback?) der Improvisation.

Rosi tanzt Rosi I (2008)

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Photos Andrea Keiz
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Solo
Duration: 10 min.
Performances: 3./ 4. Jan. 2008 at Sophiensaele Berlin during the festival Tanztage 2008
Supported by: HZT Berlin

„Ist das nicht ein bisschen…….?“
„Aber die Leute lieben sie“
„Irgendwann muss doch mal Schluss sein …. Du hast schon den Artikel gelesen……? (…) und zeugt ihr Tun eigentlich von einem fortschreitenden Realitätsverlust oder eher von selbstbewusst zukunftsweisender Verschiebung tanzästhetischer Grenzen oder handelt es sich um profane ökonomische Verzweiflung? (…)“
„Na hybrid halt, postmodern, das könnte Kult werden“

In der Fortsetzung der Familiensage „JULIO “ (2006) ist „Rosi tanzt Rosi“ eine weitere Charakterstudie. Im Gegensatz zu den liebenswerten Laientänzern Klaus und Claudia bei „JULIO “ ist Rosi eine Vollbluttänzerin und das Stück eine Hinwendung zu Choreographie im traditionellen Sinne.

JULIO (2006)

A piece about longing, ageing and the music of Julio Iglesias

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Photos Antonella Travascio
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JULIO is a patchwork project. It has been presented internationally in different versions and lengths. The two solos can also stand for themselves and have been performed independently. The group version with guest lecturer and singer is at the moment only available in German language. The guest appearance of Julio Iglesias unfortunately had to be cancelled for budget reasons.

Supported by: Berlin – Senatskanzlei – Kulturelle Angelegenheiten, Fonds Darstellende Künste e.V., Tanzfabrik Berlin

Group Version – 90 min – German language (English/ Spanish):
premiered in Tanzfabrik Berlin, April 2006, with Eliane Hutmacher, Olaf Stuve, AnnA Stein, Susanne Martin and a film by Andrea Keiz and Susanne
Solo Version – 60 min – English or German (Spanish):
premiered during Notafe Dancefestival Viljandi, Estonia, July 2006, with Susanne Martin and a film by Andrea Keiz and Susanne

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Photos AnnA Stein
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Press: “ein kurzweiliges und herzwarmes Stück über die verschwommenen Wahrheiten der Unterhaltungsmusik, über Sehnsüchte und Selbstfindung und darüber, dass man für letzteres doch nie zu alt ist.“
“The overall effect resonated ambiguously and intriguingly between blunt comedy and poignant character study”
“Martin hits the right note. The result is tenderly comical, smilingly human. A Chaplin for the 21st Century.”

Group Version:
Old Herr K. Müh talks silently about his outset for a more sensuous life. The elderly Claudia shows talkative her ever concealed desires. The referee opens the possibility to think gender anew, while the kitsch singer next to him counterpoints him. A documentary film about old tourists in Mallorca hopes to find the individual fragility, oddness and claims to love inside the stereotyped mass concept of a controlled “luxury of the minimum” for pensioners on the “German island”. During a jazz dance duet with a friend (Amigos) Herr Müh twists around again every clarity on identity, and the evening is framed by a silent observing view on a hotel swimming pool in the photos of AnnA Stein. During all this appears again and again the music of Julio Iglesias as Leitmotiv.

Gruppenversion:
Der alte Herr K. Müh erzählt stumm von seinem Aufbrechen in ein sinnlicheres Leben, die alternde Claudia zeigt wortreich die verhinderten Begehren, ein Bildungsreferent eröffnet die Möglichkeit Geschlechtlichkeit neu zu denken, während die Schnulzensängerin ihn konterkariert. Der Film Golden Playa über Seniorenpaare und Singles auf Mallorca hofft in der stereotypen Massenhoffnung vom kontrollierten Mindestluxus für Rentner auf der „deutschen Insel“ die individuellen Brüche, Verschrobenheiten, Liebesansprüche und –erinnerungen ans Licht zu holen. Im Jazztanzduett mit einem Freund verdreht Herr Müh noch mal alle Klarheiten von Identität. Der Abend wird eingerahmt von der still beobachtenden Aufsicht eines Hotelswimmingpools in den Fotos von AnnA Stein. Zu all dem taucht leitmotivisch immer wieder die Musik von Julio Iglesias auf.

Solo Version:
Old Herr K. Müh talks silently about his outset for a more sensuous life.
The elderly Claudia shows talkative her ever-concealed desires and invites the audience for a kissing experiment.
The film Golden Playa, about winter tourists in Mallorca, hopes to find the individual fragility, oddity and claims to love inside the stereotyped concept of a Mediterranean holiday island.
In between we see the very personal music video Music For Lovers.  
During all this appears again and again the music of Julio Iglesias as Leitmotiv.

Golden Playa (2006)

A film by Andrea Keiz and Susanne Martin, 17 min
spoken language: German, with English and Spanish subtitles

In this documentary film (arty as well) I wanted to give the word to the old themselves. With the video artist Andrea Keiz I spent two weeks during winter season in a typical “German” hotel in Mallorca, contacting older people, interviewing, having conversations. Embedded in the background of a holiday paradise for German pensioners and petty bourgeois I interviewed old couples and singles about love, relationships and longings.

The film was made for and presented during the piece JULIO and supported by Berlin – Senatskanzlei – Kulturelle Angelegenheiten, Fonds Darstellende Künste e.V., Tanzfabrik Berlin

Die Eigentümlichkeit, der Exhibitionismus und die Damen von Welt (2005)

by Susanne Martin and Bronja Novak
75 min. In English and Swedish language, also possible in German/English and English/English

Premiere: 2005 at Atalante Gothenburg, Sweden
Supported by: Statenskulturråd, Göteborgstads Kultur, Folkuniversitetet

Performances: Gothenburg, Stockholm, Malmö, and in many many other Swedish cities, Berlin, Potsdam, Brunswick (USA), Chisinau (Moldova).

Photos: I need to look it up

To make a special evening an unforgettable one, Mesdames Martin and Novak, friends of all available luxuries, will indulge in: make up and freshly coloured hair, expensive clothes with the best possible looking dekolleté, wine at the perfect temperature and favourite songs that are far from Top Ten. In any case: to dance good means to look good. They “are” and in this they are generous and limitless communicative, using their mottoes: “everyday is a première” and “where does vanity end and art begin?”

DE: Frau Martin und Frau Novak präsentieren und genießen allen Luxus, der ihnen zur Verfügung steht: Make up und frisch gefärbte Haare, teure Kleider mit vorteilhaftem Décolleté, gut gekühlter Sekt und chartsunverdächtige Lieblingslieder. Außerdem bedeutet gut tanzen auch gut aussehen. Die Damen „sind“, und darin sind sie großzügig und mitteilungsfreudig. Ihr Motto: „Everyday is a première“ und „Where does vanity end and art begin“