DESIERTO DE SILLAS

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Choreographer and performer Karina Suárez Bosche

Sound concept Alberto Cerro, Jaime Lobato & Felipe Sánchez Luna

Light concept Jose Luis Pineda Servín & Cheng-ting Chen

Light performance Cheng-ting Chen or Cristina Lell

Team 1 dancer, 1 sound artist, 1 light performer&designer

Premiered Oktober 2010             Duration 50 Minutes

Staging Theater or alternative space

Venue Encuentro Internacional de Escena Contemporánea EINCE, Teatro Experimental, Guadalajara, Mexico

Produced by Fondo Nacional para la Cultura y las Artes (National Fund of Culture and Arts), Mexico.


From immensity, from nothing, from the desert or the emptiness, a character irrupts. She walks and sees. Warm lights in the hands of “another” constructs her. The sound of a sandstorm. She coexists amongst imagery, throughout the chairs and people set around her. The confrontation between individuals and their own demons, their ancestors, and identities. To look into the eyes of “another” as a mirror, finding ways to communicate, finding human empathy in this proximity.

Desierto de Sillas (Desert of chairs) is a live collaborative improvisation piece that creates an immersive aesthetic experience. It is an interdisciplinary work centered on body intensity in which movement, electronic sound, and light intervention interact with each other. An extensive research on perception leads the creative team to conceive this piece in a way that the audience contributes highly to their presence. The dancer and the light performer move between the public as the sound artist sit in between them inviting all to immerse themselves in an experience of closeness that appeals to all senses.

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AUGURY

Augury - Photo Alice Dalgalarondo

Choreographer and performer Andrea Krohn

Music Henrique Iwao            Medium Dance Performance

Premiered June 2011            Duration 30 Minutes

Team 1 Performer, 1 light designer 

Staging Open space, Theater or alternative space

Venue Transformance Festival / MICA MOCA, Berlin

Supported by Tanzbasis GmbH


Someone whispers at your back. Look behind you. Something moves suspiciously next to you… Beware! Departing from a personal memory, the dance solo develops in an imaginary world of woman and bird, of dancing newspaper sculptures that perform a lonely attack and are attacked at the same time.

Augury exposes the fear of violence to which we are constantly subjected and which formats our bodies and actions establishing diverse paranoias: don’t walk alone in a dark street, don’t trust a stranger, don’t touch abandoned bags in public spaces… The experience of living in a big metropolis like São Paulo finds expression and echo in Berlin, where the dance becomes concrete: urban spaces, train stations, open squares. As the performer intervenes and dialogues with the surrounding architecture, acknowledging spaces of fight or flight, they become stages of confrontation with one another and with oneself.

OCHSENTANZ

Ochsentanz - Photo Felix Salazar.jpg

Choreographer and performer Andrea Krohn 

Medium dance performance               Premiered May 2013

Team 1 performer, 1 light designer     Duration 30 Minutes

Venue Ada Studio, Berlin  

Staging Open space, Theater or alternative space

Supported by: K3/Zentrum für Choreographie Hamburg und Nachwuchsförderung from Goethe-Institut Germany.


A young, blond and caucasian woman carries a radio. Music comes and goes in waves, so the performer: searching, drawing circles, creating an autonomous space of homage, reverse anthropophagy and transformation. A red space.

In the Brazilian theatrical folk tradition “Boi Bumba” the tale of an ox who dies and is brought back to life is narrated through music, drums, and dance. Its link to the Brazilian colonization history inspires this solo performance, which reveals matters of power, stereotyping and land distribution. The artist challenges the expectations which arise from her body image and performs a ritual where the search, the taming, the killing and the resurrection of an ox, reaffirms and transforms Brazilian identity and creates a personal territory. Ochsentanz empathizes with the necessity of having a physical space to affirm one’s identity. It is an homage to the resistance movements of the native populations of Brazil who are deeply rooted in their original territories and fight to maintain and recover them.

GRAU

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Choreographer Karina Suárez Bosche     Medium Performance

Stage design Cheng-ting Chen                 Light design Catalina Fernández

Premiered June 2014                                  Duration 110 Minutes

Venue Uferstudios, Berlin                          Staging Theater

Supported by Hochschulübergreifendes Zentrum Tanz / Uferstudios Gmbh Berlin


Time. The time that stands still, the time of silence. Gray. The daily battle against the gray. The non-color that conceals without emotions, the color that leaves us dumb, dull and baffled. The gray velocity, the damn gray speed confuses us and blinds our hearts. Slowly turn back, look, and maybe the world will become aware of the daily fight against the gray.

Grau reflects on the daily struggle of individuals within the capitalistic system which often imposes faster ways of living in order to achieve “a successful life”. How is this shaping our relationships and notions of happiness? Gray women and men walk hurriedly through rows of empty chairs. The confusion arises as the spectators enter the room and find themselves immersed in a happening. Forced to decide how to deal with this situation, they are also granted the freedom to co-decide how the piece ends. By creating a horizontal space of interaction between the public and the performers, the piece is a statement on behalf of sensitive ways of interacting.

 

LOOK CLOSER UNTIL YOU TOUCH IT

Photo Christian Scholz

Choreographer Andrea Krohn       Assistance Dramaturgy Markus Posse

Medium Dance Performance / Lecture Performance

Premiered June 2016                       Duration 40 Minutes

Team Dance Performance 4 performers, 1 light designer 

Team Lecture Performance 1 performer, 1 light designer

Venue Kampnagel, Hamburg          Staging Theater

Supported by: Master in Performance Studies Hamburg and Kampnagel, Hamburg


Imagine all those tiny sight lines between dancers and audience as little threads jumping chaotically through space. Can a dancer follow those invisible threads, grab or maybe even create them? The human gaze is fleeting, movements vanish every moment. Observe carefully what you see while it’s happening. Listen to our voices. Here… there… now… gone. Close your eyes. What do you see?

Look closer until you touch it explores the diverse paths a dancer can create to be looked at – a myriad of possibilities taken or not. After all, dance is impossible to catch and register, for it is an ephemeral art. The piece can be presented both as a solo lecture performance or as a group choreography. Using theater tools such as light and surrounding sound, the piece invites the audience to follow simple space orientations with their eyes. By doing so, the personal freedom of gaze is questioned, especially when directed at a dance performance. Despite the frontal alignment, the spoken instructions create a participative piece without ever physically approaching the audience. A choreography about interaction and expectations on the act of looking, that questions dance as a visual art.

 

(AUSENCIA) DIE ABWESENDEN

 

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Choreographers Andrea Krohn and Karina Suárez Bosche

Stage design Yi-Jou Chuang         Sound design Carlos André Rico

Premiered June 2017                     Venue Kampnagel, Hamburg

Duration 40 Minutes                     Staging: Alternative space or theater

Video documentation David Gómez Alzate

Dramaturgy Mentoring Barbara Schmidt Rohr

Co-produced by K3/Zentrum für Choreographie Hamburg and funded by the Hamburgische Kulturstiftung and the Behörde für Kultur und Medien der Freien Hansestadt Hamburg.

(AUSENCIA) The Absent

The gap that a missing person leaves behind is like a missing thread in a tissue. The perceptible absent body produces a jiggling mesh of gravitation and emotion.

Is a tribute to the missing and their relatives. Transformable movements explore the path between individual grief and collective action. Personal pains meet, unite and transform into a network of mutual supporting hands. On stage, dancers, stage designer and musicians represent the emerging community. A collective body arises. But, what happens with those who are missing? How can we embody them? The choreography feels the performativity of what we call „floating bodies“ in their presence and none presence. The piece honors the resilience of those directly affected, as well as all societies which are daily struggling with the concealment and impunity of these violent acts.

Video

in/the/back/no/words/hearing

in/the/back/no/words/hearing

Choreographer  Karina Suárez Bosche         Medium Dance-Installation

Stage and light design Cheng-ting Chen   Team 2 performers, 1 technical director

 Premiered Oktober 2013                               Duration 40 Minutes

Staging: Theater or alternative space

Supported by Uferstudios Gmbh / Red Lab Gestión y Vinculación Cultural / Danza Net


World of silence, displaced nature. Artificial aesthetic and order. Two women coexist in a world of still, unvoiced, transplanted nature. After years of isolation, they have lost their language. Suddenly they find each other and, in an attempt to communicate through their bodies, sounds and eye contact, they approach themselves. The dance-installation in/the/back/no/words/hearing is a piece made for contemplative states. Real plants framed in wooden cubes form a unique installation on stage. A real tree with visible roots expresses the loss of our origins. The piece questions the possibility of radical honesty in humans, the search for their true nature inside a system and a society that imposes them how to be, react and move.

 

Video Link Casting A

Video Link Casting B