A postdoctoral research project at Ècole Polytechnique Fédérale de Lausanne (since autumn 2018)
In this postdoctoral research I examine the practice and performance of improvisation in the performing arts in their potential to rethink and advance processes of collective learning and researching. Placed in the context of a university specialised in engineering the project takes a new approach to creativity in scientific and engineering research. My 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. Heightened awareness, reflexivity, improvisation and collective creation will be the practical themes of the project.
See on the website of epfl.ch:
Photo: Simon Henein
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
– 27 February 2019 Dancing with real bodies, improvisation class for MA students of EPFL Lausanne, Switzerland
– 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 and panel talk Body & Milieu Body IQ Festival, Somatische Akademie Berlin
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
Photo: Ulrike Eckel
-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
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
Photo Eugene Titov, contact workshop Dancing with Others – Dancing for Others, Bucharest Contact Festival 2017
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);
Photo:Harald Mühle, Zeitgenössischer Tanz und Alter(n), Dialog der Generationen Werkstattgepräche, Berlin 2013
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).
Video Still Benedikte Esperi, Dancing Age(ing) – Sliding through Time, Göteborg University for Music and Drama, Q&A with Benedikte Esperi 2017
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.
Photo Steffen Rüttinger
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.
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)
A series curated by Gabriele Reuter
Das Wagnertrio: Susanne Martin, Anna Melnikova and Gabriele Reuter
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.
Duet Todd Ford & Susanne Martin
Korsobad: on stage : short dance performances, live music, drinks and DJ, curated by Gabriele Reuter
With: Lutz Streun, Gabriele Reuter, Zaratina Randrianantenaina, Susanne Martin, Annapaola Leso, Todd Ford, Maria Marta Colusi, DJ Montage
The Meeting Point Berlin 2013 at Kunstquatier Bethanien is curated by Mireia Aragonés Carol.
The performers of Meeting Point on 24. Nov.: Mireia Aragones, Rosella Canciello, Naima Ferre, Henrik Kaalund, Florian Knoblich, Susanne Martin, Sarah Simeoni, Barbara Topi,
03.11.2013 at Embrace Arts Centre, Leicester, UK
Salon Guests: Jo Breslin, Jill Cowley, Sally Daughty, Jovair Longo, Jamie McCarthy, Rick Nodine, Eleanor Walker
Improvisation during summer workshop festival at Tanzfabrik Berlin, 24.7.2013
Simonetta Alessandri, Susanne Martin, Rick Nodine, Gabriele Reuter
10.03.2013 at Nottingham Contemporary
Salon Guests: Robert Clark, Pete Shenton and Dog Kennel Hill Project: Henrietta Hale, Ben Ash, Rachel Lopez de la Nieta
Supported by Dance 4 Nottingham
30.10.2011 at Embrace Arts Centre, Leicester
Salon Guests: Jo Breslin, Sally Doughty, Marie Fitzpatrick & Kerry Francksen
27.11.2011 at Embrace Arts Centre, Leicester
Salon Guests: Pete Shenton, Miriam Keye, Annie Woodhouse, Rachel Liggitt
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
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.
“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.”
Photo Marion Borris
Performing Improvisation with Ray Chung, Katarina Eriksson, Gabriele Reuter. Tanzfabrik Berlin
Die Körper der letzten Tage – Ein Abtakt
15.04.2012 at Tanzfabrik Berlin
Salon Guests: Vincent Bozek und Sophie Jahnke
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.
„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
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.
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.
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
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
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
„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
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.
100 Fragen an die Improvisation
Salon Guests: Joris Camelin, Rosalind Crisp, Luc Dunberry & Mata Sakka.
10.07. 2011 at Tanzfabrik 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: