Archiv der Kategorie: Choreographies

Was ist Tanz? (April 2022)

Centre Francais Berlin S.K.A.T.#1 Was ist Tanz Flyer 27.04.22
Mit Susanne Martin und Jan Burkhardt

Durch eine Mischung von Vortrag, Workshop und Performance widmen wir uns einigen zentralen Tanzthemen wie zum Beispiel:

Wonach gucken wir, wenn wir Tanz sehen?
Woran denken wir, wenn wir selbst tanzen?
Wie verhält sich Tanz zu Ton und zu Musik?
Was könnte man wissen und was will ich wissen über Tanz?
Wie passen Tanz und Alter(n) zusammen?

Anders gesagt: Mit Hilfe von Wahrnehmungsaufgaben, Bewegungsaufgaben (kein Zwang) und gemeinsamem Nachdenken lade ich ein, sich dem Phänomen Tanz anzunähern. Außerdem konnte ich meinen wunderbaren Kollegen Jan Burkhardt (Tänzer/Choreograph/Tanzvermittler) gewinnen in einem Gastbeitrag etwas zu unserem Tanzverstehen beizutragen. Also es wird spannend. Vorwissen oder spezielle körperliche Fähigkeiten sind nicht erforderlich. Alle Altersgruppen sind willkommen, Expert*innen und Genies jeglicher Art dürfen auch mitmachen.

Alle Fotos: Félicie Bleesz

 

Fotos: Félicie Bleesz

Understanding Dance for Beginners and Intermediates, May 2020

This video tutorial (4 episodes) is a response to the statement “I don’t understand dance” – a sentence we encounter ever so often when moving away from the inner circles of dance lovers and dance experts. So, we attend to questions like: What do I look for when watching dance? What’s the relationship between dance, sound and music? What is there to know, and what would I like to know about dance? Understanding Dance for Beginners and Intermediates is an invitation to wonder, ponder, study, meet, and simply be in the room with dance. Let’s see how far we get. Advanced fans, advanced skeptics, professionals, and children are also welcome.

Susanne Martin – concept, performance
Gabriele Reuter – co-creation, performance
Hui-Chun Lin – co-creation, cello
Andrea Keiz – camera, video

Created for Soundance Festival Berlin 2020 (www.soundance-festival.de)

# Episode 1

Kinesthetic Empathy

Recommendations for Further Reading and Watching

Foster, Susan (2011) Choreographing Empathy: Kinesthesia in Performance. London: Routledge.

Pavis, Patrice (2016) The Routledge dictionary of performance and contemporary theatre. London: Routledge.

Reason, Matthew and Reynolds, Dee (2010) Kinesthesia, Empathy, and Related Pleasures: An Inquiry into Audience Experiences of Watching Dance. Dance Research Journal. Cambridge University Press, 42(2), pp. 49–75.

Reynolds, Dee and Reason, Matthew (2012) Kinesthetic Empathy in Creative and Cultural Practices. Bristol: Intellect.

30 min. lecture performance by Susan Foster (2011) Kinesthetic Empathies & The Politics of Compassion. http://danceworkbook.pcah.us/susan-foster/kinesthetic-empathies.html

 

# Episode 2

Monte Verità Part 1

Recommendations for Further Reading and Watching

Early European Modern Dance

Müller, Hedwig and Stöckermann, Patricia (1993) “…jeder Mensch ist ein Tänzer.” Ausdruckstanz in Deutschland zwischen 1900 und 1945. Gießen: Anabas.

Oberzaucher-Schüller, Gunhild (1992) Ausdruckstanz: Eine mitteleuropäische Bewegung der ersten Hälfte des 20. Jahrhunderts. Wilhelmshaven: Florian Noetzel.

45 min. documentary by Allegra Fuller Snyder (1991) When the fire dances between the two poles – Mary Wigman 1886-1973. https://www.youtube.com/watch?v=oFCVWVaeevA

18 min. Jill Beck (1988) intensive course in elementary Labanotation. https://www.youtube.com/watch?v=bIhCI7WIBJg

60 min. Mark Jarecke (2012) introduction to Laban’s Space Harmony. https://www.youtube.com/watch?v=p-B_E3loAto

Dance and Recognition

Foellmer, Susanne (2006) Valeska Gert: Fragmente einer Avantgardistin in Tanz und Schauspiel der 1920er Jahre. Bielefeld: transcript.

Gert, Valeska (1968, reprint 2019) Ich bin eine Hexe: Kaleidoskop meines Lebens. Berlin: Alexander.

30 min. talk show excerpt (1975) with Valeska Gert as guest (in German language). https://www.youtube.com/watch?v=2Xgpvta0UMA

 

# Episode 3

Monte Verità Part 2

Recommendations for Further Reading and Watching

Dada / Cabaret Voltaire

5 min. excerpt of documentary by Greta Deses (1969). Reconstruction of a performance at the Cabaret Voltaire. https://www.youtube.com/watch?v=fkl92oV1kMc

55 min. documentary by Helmut Herbst (1968) Germany – Dada: An Alphabet of German Dadaism. https://www.youtube.com/watch?v=C9jMqxSPWWQ

Hermeneutics

12 min. video tutorial by Victor Gijsbers (2017) The Hermeneutic Circle. https://www.youtube.com/watch?v=zIEzc__BBxs

12 min. collage of Hans-Georg Gadamer speaking about hermeneutics (German with English subtitles) https://www.youtube.com/watch?v=lm-hZY5W4Ss

Dance and Music

2 min. trailer by Walter Bickmann (2018) Gabriele Reuter and Mattef Kuhlmey in The Amplitude. https://www.tanzforumberlin.de/produktion/the-amplitude/

8 min. documentary (2017) on a sensory atelier based on The Amplitude by Gabriele Reuter and Mattef Kuhlmey. https://www.youtube.com/watch?time_continue=339&v=__4boy3T3uQ&feature=emb_logo

10 min. performance excerpts (2017) of duets by Jenny Haack and Lin Hui-Chun. https://vimeo.com/294438082

6 min. performance excerpt (2016) Dr. D. meets Dr. V. by Susanne Martin and Alex Nowitz. https://vimeo.com/239994378

Hauert, Thomas (2016) Inaudible. Project description and video excerpt. https://zoo-thomashauert.be/en/projects/139/inaudible

 # Episode 4

Dance in Context

No recommendations for this episode.

The workaholics should take a break.

The others still have work to do for Episode 1-3.

ENJOY

Learning. Teaching. Dancing. 2018

Learning. Teaching. Dancing.
for “Remembering the Future – 40 years of Tanzfabrik Berlin”
A “Doc Martin Dance Lecture“ with Susanne Martin (in English language)
all Photos: AnnA Stein

Learning. Teaching. Dancing. is an interactive dance lecture for beginners, professionals, and the generally curious. Within the frame of  “Remembering the Future – 40 years of Tanzfabrik Berlin” this dance lecture recalls moments of practical research and of unsettling and enlightening dance experiences within Tanzfabrik’s workshops. Learning. Teaching. Dancing. is Susanne’s radically subjective review and restaging of practices, exercises, and ideas taken from Tanzfabrik’s workshops and panel discussions. Learning. Teaching. Dancing. shares Tanzfabrik experiences from the perspective of a fan = amateur = lover.

Learning. Teaching. Dancing.  (tanzen lernen lehren) ist eine interaktive Dance Lecture für Anfänger_innen, Fortgeschrittene und Sowieso-Neugierige. Im Rahmen von „Remembering the Future – 40 Jahre Tanzfabrik“, erinnert sich diese Dance Lecture an Momente des Lernens, Lehrens, der praktischen Forschung und der handfesten oder leichtfüßigen Tanzerfahrungen innerhalb der Workshops der Tanzfabrik. Learning. Teaching. Dancing. ist Susannes radikal subjektiver Rückblick und die Wiederaufführung von Praktiken, Übungen und Ideen aus Workshops und Panelgesprächen der Tanzfabrik. Learning. Teaching. Dancing. vermittelt Tanzfabrikerfahrungen aus der Perspektive eines Fans = Amateur = Liebhaberin.



all Photos: AnnA Stein

RETROPERSPEKTIVE 2017

Photo: Andrea Keiz

Duet with Felix Marchand
6 December 2017,  SODA Festival, HZT Berlin

Retroperspective
It is ten years by now that Felix and Susanne became SODA-pilot-students at the Inter-University Centre for Dance Berlin (HZT). Ten years during which they didn’t find the time to go into the studio together. Now it finally happened. Come and celebrate with them a foresighted review into an improvised present.  Susanne and Felix negotiate their dancing pasts in a real time composition. They face the presence and battle the future. They meet old friends and new opponents, and get backup from Billy the Kid, Julio Iglesias, Rosi, Helge Schneider, Wum & Wendelin and, and, and……

Photo: Andrea Keiz

Photo: Andrea Keiz

Von der Schönheit und Seltsamkeit des Anlehnens 2017

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

Doctor D meets Doctor V (2016)

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.

The Fountain of Age (2015)


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

Photos William Gillingham Sutton

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.

The Fountain of Youth & The Shadow (2013)

_MG_9290crop
Photos Lars Åsling, Graphic Sophie Jahnke
_MG_9282_1crop Foto Lars Åsling, Graphic Sophie Jahnke

The Shadow and The Fountain of Youth – Two Dances on Staying Alive
As a new step in their long-term collaboration Bronja Novak Lindblad (Göteborg) & Susanne Martin (Berlin) have created each a solo on the same subject: the facts of getting older and sustaining in the world of dance. ”The Shadow” by Novak  and ”The Fountain of Youth” by Martin are two creative and quirky responses to the exciting challenge of moving forward in time.

Premiere: 19 April 2013, Atalante, Gothenburg, www.atalante.org
Additional performances:  Dance and Theatre Festival Gothenburg, Sweden,  2014. Venue: 3e våningen
Sound: Anna Gustavsson
Light: Thomas Dotzler
Production: Big Wind/ Sofia Åhrman, www.bigwind.se
Supported by: Swedish Arts Council, City of Gothenburg, Tanzfabrik Berlin

The Fountain of Youth

_MG_0183Fount.papers1024
Photos Lars Åsling
Foto Lars Åsling _MG_0244Fount.960

A solo/ dance/ piece/ lecture/ performance by Susanne Martin
Duration: 45 min
Additional performances: Grove Theatre, Middlesex University London, November 2014

The Fountain of Youth
Is a dance on forever-youngness and on being old enough to tell the story differently

The Fountain of Youth
Is an untrustworthy lecture on trusting an ever-changing body

The Fountain of Youth
Is also a core part of my doctoral research in dance, dedicated to exploring and questioning dominant views on ageing dancing bodies through my own improvisation-based dance practice and performance making

Hoppalappa Postfolki Tanzi Teateri 2008 – 2012

50450034_1024
Photos Viktor Rahmqvist
Photo Viktor Rahmqvist 50440017_1024

An improvisational performance project by
Katarina Eriksson (San Francisco)
Susanne Martin (Berlin)
Bronja Novak Lindblad (Gothenburg)
Coaching: Andrew Morrish
Production: Big Wind
Supported by: the city of Gothenburg and Statens Kulturråd

The studio version:
Sept. 2008, Konstepidemin Gothenburg

The stage version:
Premiered 23.5.2009, Atalante, Gothenburg
Performance time: 75 min
Light: Victor Wendin
Touring: Stockholm, Malmö, Berlin

The site specific version:
June 2012 in Gothenburg

At the intersection of folkdance culture and contemporary improvisation culture this international trio indulges in made up and experienced cultural roots, traditions they never had and dances they never learned.
Connecting home is: the practice of improvisation and contact improvisation.
The shared questions are: how much improvisation can a thematically set piece take without bursting? And how much individuality can an improvised trio take without falling apart?
Dressed in Bavarian Dirndl’s, armed with irony, supported by newest improvisation technologies the three dancers dig into our projections and clichés of country living and the traditional. They are odd and familiar in their pride of and will for a self-made nature idyll and in their passionate attempt to include every soul in the room into the warmth of their temporary village.

Press:
“Hoppalappa is a performance you want to experience rather than observe“
“Hoppalappa, an hour long display of exhilaration, strings of associations, of well trained collaboration and of joyful courage towards the unknown. The safety net is called humour.“
“It was a joy to look into the minds of these crazy performers and to be embraced by their warm madness when it’s so damn cold outside.”

Rosi tanzt Rosi – The Conference (2009)

rosi_tanzt217_1024
Photos Thomas Aurin
rosi_tanzt210_1024 Foto Thomas Aurin

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)

rosi_tanzt216_1024
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 tanzt Rosi – The Winter Version (2009)

0011_1024
photos David Bergé
0012_1024 0014_1024

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)

IMG_1039_1024
Photos Rita Roberto
IMG_1052_1024 Photo Rita Roberto

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)

IMG_2469_1024
Photos Andrea Keiz
Foto Andrea Keiz IMG_2496_1024

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

DSC_0168_1024
Photos Antonella Travascio
DSC_0207_1024 DSC_0248_1024

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

freund
Photos AnnA Stein
mueh+freund2 olaf

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.

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“