Schlagwort-Archive: Improvisation

Artistic Research on Improvisation & Engineering

Photo: Simon Henein, first Improgineering course at EPFL, final performance May 2018

A postdoctoral research project at Ecole Polytechnique Fédérale de Lausanne (EPFL), hosted by Instant-Lab, Prof. Simon Henein

In this postdoctoral research I examine dance improvisation in its potential to rethink and advance processes of learning and researching in a technical university. Placed in the context of EPFL, a university specialised in engineering, the project takes a new approach to exploring and articulating the practice-knowledge of dance improvisers in relation to the needs of scientists, students and educators in higher education. As such this artistic research situates itself right at the heart of the critical discourses around the dichotomies of practice/theory, art/science, body/mind, action/reflection, as well as the divide between object and subject in research processes. The sensing body, reflection in action, and play are the practical themes of the project.

My artistic research project is part of the ASCOPET research (Les arts de la scène comme outil pédagogique dans l’enseignement tertiaire), a collaboration between Prof. Simon Henein, EPFL and Prof. Laure Kloetzer, University of Neuchatel (Unine). In June 2019 we held the first international ASCOPET symposium on higher education learning through performance practices on the EPFL campus. The event offered an opportunity for an international exchange on applying performing arts and improvisation methods to higher education.
Organisation and Curation: Laure Kloetzer and Susanne Martin
Speakers: Simon Henein / Laure Kloetzer / Ramiro Tau, Switzerland;  Jonathan Parker, UK; Helle Winther, Denmark; Francesco Mondada, Switzerland; Gunter Lösel / Nicole Erichsen, Germany / Switzerland; Fran Iglesias Gracia, Spain; Susanne Martin, Germany / Switzerland.

Public Presentations:

-13 June 2019 Learning to Improvise – Improvising to Learn interactive danced lecture with generous participation of Alexandra Macdonald and EPFL master students, during the Symposium on Higher Education Learning through Performance Practices, EPFL Lausanne, Switzerland

Photo: Simon Henein, ASCOPET symposium 13 June 2019 , Presentation „Learning to Improvise…“ improvisation of Improgineering students

Photo: Simon Henein, ASCOPET symposium 13 June 2019 ,Presentation „Learning to Improvise…“ improvisation with Alexandra Macdonald

Photo: Simon Henein, ASCOPET symposium 13 June 2019 „Learning to Improvise…“, improvisation with Alexandra Macdonald

Photo: Simon Henein, EPFL symposium 13 June 2019, Presentation „Learning to Improvise…“

-23 March 2019, IMPROGINEERING or Move Towards the Unknown, Fall Into a Gap, and Find a Body There, together with Simon Henein, international conference Society of Artistic Research SAR, Zürich.

Video: Joelle Valterio, SAR Conference 2019 Presentation Heinein/Martin performing improvisation

Video: Joelle Valterio, SAR Conference 2019 Presentation Heinein/Martin performing improvisation

Video: Joelle Valterio, SAR Conference 2019 Presentation Heinein/Martin, improvisation of participants

See on the website of epfl.ch:

I M P R O G I N E E R I N G

 

teaching next/lately


– 27 February 2019 Dancing with Real Bodies, improvisation class for MA students of EPFL Lausanne, Switzerland as part of the EPFL research project Improvisation & Engineering

– 16-17 February Workshop Grundlagen somatische & künstlerische Forschung / Dokumentation, S. Martin & A. Keiz, somatische Akademie Berlin

–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 2018 Workshop Grundlagen somatische & künstlerische Forschung / Dokumentation, S. Martin & A. Keiz, somatische Akademie Berlin

–18/19 November 2017 Workshop Body & Milieu Body IQ Festival, Somatische Akademie Berlin

– 16 – 22 June 2017 CI Workshop Dancing with Others – Dancing for Others, Bucharest CI Festival

 

Performing Improvisation at Bucharest Contact Improvisation Festival (2017)

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)

Photo Eugene Titov, duet with Adrian Russi

Photo: Alina Usurelu, duet with Virginia Negru

Photo Alina Usurelu, duet with Adrian Russi

Photo Alina Usurelu, with Steven Batts, Elisa Ghion, Susanne Martin, Virginia Negru

What do I teach (in 2019)?

My teaching deals mainly with dance, improvisation, performance, the body in different contexts, artistic research methods, or topics such as such as dance & age(ing) or improvisation & engineering, which developed out of my own artistic research.

In which formats do I teach?
– Workshops / Classes = practice oriented, limited time for verbal interaction
– Seminars = mix of input, practical exploration, group reflections/discussion
– Supervising / Coaching = one to one work, content focus tailored to supervisee
– Lecture Performances = performances aiming at knowledge production/dissemination, therefore therefore including a substantial amount of verbalizing

Workshops / Classes
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

Photo Eugene Titov, contact workshop Dancing with Others – Dancing for Others, Bucharest Contact Festival 2017

Seminars
These are thematic seminars that combine practical and theoretical inputs and explorations with the participants. Themes are
– artistic research
– improvisation as exploration, as performance, as research
– showing process on stage, staging your work (e.g. “bad performing for shy artists”)
– dance & age(ing) (e.g. “undoing age appropriateness”)
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Supervising / Coaching
I started to support individuals and groups in developing their respective artistic research practices. Currently I am supervising some MFA students, helping them the find, find back, not loose their very unique paths through the jungle of art and academia., I’m sharing inputs, tools and strategies from dance, theatre, artistic research and from my personal experience with collaborative artistic practice. I’m supporting processes of performance making

Photo:Harald Mühle, Zeitgenössischer Tanz und Alter(n), Dialog der Generationen Werkstattgepräche, Berlin 2013

Lecture Performances
I keep developing the hybrid format of lecture performance.
I’m staging, dancing and discussing specific themes often with invited guests and/or the audience – these lectures often include some audience activity/participation. For past lecture performances go to „Research“ and “Salons” in the menu.

Video Still Benedikte Esperi, Dancing Age(ing) – Sliding through Time, Göteborg University for Music and Drama, Q&A with Benedikte Esperi 2017

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.

TIN Pieces (London 2015)

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)

Korsobad: on Stage (2014)

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Photos Steffen Rüttinger
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07.06.2014
Duet with Gabriele Reuter
Solo (work in progress for The Fountain of Age)
Group improvisation with all performers

Ein Abend mit kurzen Tanzstücken, Improvisationen und Live Musik, kuratiert von Gabriele Reuter. Diesmal mit Solos von Susanne Martin, Maria Colusi, Lutz Streun (Saxophon) und Previews der neuen Stücke von Philip Amann und Gabriele Reuter/Mattef Kuhlmey. Danach tanzbare Musik von Montage.

 

Susi & Gabi’s Salon #5 #6 #10 Leicester

#5
30.10.2011 at Embrace Arts Centre, Leicester
Salon Guests: Jo Breslin, Sally Doughty, Marie Fitzpatrick & Kerry Francksen

#6
27.11.2011 at Embrace Arts Centre, Leicester
Salon Guests: Pete Shenton, Miriam Keye, Annie Woodhouse, Rachel Liggitt

#10
03.11.2012 at Embrace Arts Centre, Leicester
Salon Guests: Caroline Bowditch, Jo Breslin, Jill Cowley & Sally Doughty

Thank you for the support of Embrace Arts Centre, Dance 4 Nottingham and Tanzfabrik Berlin

Hoppalappa Postfolki Tanzi Teateri 2008 – 2012

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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.”

Susi & Gabi’s Salon #9 Ein Abtakt – TanzHochZwei Festival

Die Körper der letzten Tage – Ein Abtakt
15.04.2012 at Tanzfabrik Berlin
Salon Guests: Vincent Bozek und Sophie Jahnke

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Photos AnnA Stein
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A second evening on transforming body and shifting dance practices. This time Susi and Gabi throw themselves and their own current practice of improvisation on the stage working on recipes from two weeks workshops, rehearsals, lectures and personal encounters. The Closing-Salon is a subjective, improvised, unsustainable response to the festival, and is therefore itself a transformational practice. How far-reaching it will be seen … as always.
Supported by Tanzfabrik Berlin

Ein zweiter Abend zum Thema transformatorische Körper und sich verändernde Tanzpraxen. Diesmal werfen sich Susi und Gabi mit ihrer eigenen, aktuellen Improvisationspraxis auf die Bühne und verarbeiten so die Inspirationen und Rezepte aus zwei Wochen Workshops, Proben, Lectures und persönlichen Begegnungen während Tanz Hoch Zwei. Salon-Gäste werden sie aus dem Pool der Künstler und Dozenten des Festivals einladen. Der Abtakt-Salon ist eine subjektive, improvisierte, unhaltbare Reaktion auf die letzten zwei Wochen und damit selbst eine transformatorische Praxis. Wie weitreichend wird man sehen … wie immer.
Der Salon findet statt mit Unterstützung der Tanzfabrik Berlin.

 

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