Rat&Tat – KulturbüroKopfkino take you on a literary walk through Munich: a walking tour through head and city of young Munich-based authors, collected and read by actress Henriette Fridoline Schmidt.
Every author, every walk, every text is different: a stream of consciousness, an audiobook, a novel or a chain of associations. Kopfkino isn’t a book, not a theatre, not a performance, and not an audiobook. Kopfkino is a podcast for city-strolling, roaming, discovering. Just turn on your headphones and start walking!
“A stage space bathed in green-bluish light. One body rests its arms on its drawn knees, holding its left wrist with its right hand, head hanging and looking down. A second body lies lasciviously on the right side, looking towards the right rear corner. A third body, on the monitor, bends slightly to the right, one hand on the chest, the other slowly circling the wrist. A fourth body stands in the middle of the room. Synchronously, they open their arms to the sides. A smile slowly appears on their faces. Their mouths widen into large openings. The singing of a choir resounds.”
In ROSE LA ROSE, the choreographer duo Rykena/Jüngst dive into the obscure and at the same time erotic world of show culture and spectacle together with the performers Amelia Cavallo and Tian Rotteveel. They reveal their subversive potentials and pay homage to the in-between, the time before and after revelation, before and after seduction, before and after climax. The multidisciplinary team opens up imaginative spaces in which clichéd notions of erotic bodies are questioned and rewritten.
Through the artistic use of audio description, which translates visual content into language, the seeing and non-seeing performers interweave visual and auditory spaces of perception. In a parallel analogue-digital working process between Amelia Cavallo in London and the other performers in Hamburg, they interrogate the (un)visible through the (un)spoken and deliberately create gaps in perception in which the non-visible is made audible and vice versa. The visual and auditory surfaces combine through the voices and bodies of the performers to form a structure of interwoven narratives and interpretations of hybrid eroticism. Bodies and voices disappear, distort, direct, question, challenge.
In German and English
With audiodescription
DESCRIPTION OF THE PICTURE SUITABLE FOR THE BLIND
Two bodies from above, bathed in bluish-bronze light, on a soft flokati carpet. They are wearing transparent tracksuits, their skin colour is white, they are barefoot. The person on the left rests their arms on their drawn-in knees, holds their left wrist with their right hand. The head falls between the legs. The person next to them lies on their right side. With their bent legs crossed and leaning on their hands, they look to the right in front – beyond the picture. They touch the other with the tips of their feet. One remains, the other seems to leave the place the next moment. Long dark hair, no hair, black mesh on skin.
Video-Premiere in Hamburg February 25., 2021 + as video on demand available until March 07., 2021
Live Shows in Munich July 23. – 25. 2021 | 8 pm Uhr HochX Theater und Live Art | Entenbachstraße 37 | München
Vermittlungsveranstaltung Online 22. Juni 2021 | 7 to 9 pm https://theaterbueromuenchen.de/en/2021/06/22/rykena-junst-en/
Team
Choreography, direction, dance: Carolin Jüngst, Lisa Rykena
Dramaturgy: Matthias Quabbe
Co-Choreography, dance: Amelia Lander-Cavallo, Tian Rotteveel
Access Work: Al Lander-Cavallo
Artistic Audiodeskription: Ursina Tossi
Sound: Konstantin Bessonov
Stage: Lea Kissing
Costumes: Hanna Scherwinski
Light: Ricarda Schnoor
Filmconzept und edit: Martin Prinoth
Translation and subtitles: Emma Stenger
Artistic Production, Press: Stückliesel
Production Assistant: Sina Rundel
Photography: Jonas Fischer
Press & PR Munich: Rat&Tat Kulturbüro
On Anger is the first part of a trilogy which will be dealing with the different emotional states of our current society.
The interest is to not just recognize the emotion/condition as an individual feeling but also to perceive it as a condition produced by society and within a specific structure.
We want to question the source of anger, analyze how it works its way from the inside out, how it alters the body, how our perception changes, how it becomes distorted and what effect it has on every cell of the body.
On Anger will be a piece that examines, explores and stages different aspects of anger.
These include physical, anatomical and socio-political perspectives as well as the resulting ‘output’ in the form of ‘furious’ works of art, speeches or political shifts.
After WWII, when Germany lost the vast eastern european territories it had colonised over several hundred years, millions of German refugees had to be integrated into West, and East German society, a process that has largely been expelled from national memory.
Using a vast ethnographic sound archive that documents this cluster of historical events as a starting point, Oliver Zahn examines the promises and pitfalls of techniques and practices of social forgetting.
In Praise of Forgetting: Part 2 is the standalone sequel to a stage piece that premiered in December 2019. Continuing the line of inquiry started then, it completely shifts the action from a space of physical co-presence to the digital sphere, thereby raising new questions on memory and forgetting.
A dance piece about having an idea of a better you and the process of trying to move towards it. The project highlights the destructive nature of the concept of an ideal self to our relationship with the world. It examines whether division with one’s own self can be a basis of loneliness.
Muncih-based choreographer Anna Konjetzky will be working on her project NOMADIC ACADEMY dealing with the subjects of alternative spaces, free spaces, alternative roads and border(s) with a focus on evasion, displacement and resistance.
As a center that will be simultaneously educational, communicative and research-based, the NOMADIC ACADEMY will explore these topics under the keywords QUEER and QUER (QUER – a German term which means cross, transverse, diagonally), which will be the starting points for a practical and theoretical research journey; including a wide range of different people, groups and institutions – other artists, communities, students, theoreticians, universities… all testing, thinking and challenging QUEER and QUER.
The NOMADIC ACADEMY will function as a base-satellite system and will thus connect the Bavarian dance scene (Munich base) to foreign dance scenes (satellites) from 2019 to 2021. The NOMADIC ACADEMY will take place every year in a different location abroad, and annually as a ten-day platform for knowledge exchange in Munich. It will dock into numerous institutions, collaborate with numerous artists, and lead to discourses, body practice and impulses.
The core of the NOMADIC ACADEMY consists of a crew of Munich-based artists, who will accompagny and activly shape the academy during the next three years. In various constellations participants of this reseach group will take part in the academy’s moduls abroad. Sharing there the previous research by focusing each time on the particularity of each of these places. Conversely an artist from the moduls abroad will also join the plattforms of the NOMADIC ACADEMY in Munich, thus exchanging and challenging knowledge, discurse, aesthetics and body praxis of and in different local contexts.
The principle of the nomadic is at this juncture a constituting element for Konjetzky’s approach. It is illustrated, on the one hand, in the “wandering” of the academy – a practice that allows one to balance the issue of border(s) and alternative spaces with the respective conditions (political, social, geographic, etc.) and protagonists on site. On the other hand, the nomadic is also addressed in the organization of knowledge, in how we share knowledge, in what structures can we create during the academy to meet, interact, learn and research.
Considering human movement and (individual) freedom of movement is not possible without reflecting on border(s). Border(s) determine the space for movement and action; they elicit patterns of behavior and physicalness. Border(s) are celebrating a renaissance in our post-colonial, globalized and capitalist world and are drawn not only around nations but also exist increasingly within nations ans societys.
With various bodies at various locations, the NOMADIC ACADEMY would like to consider which borders affect, influence, limit and challenge bodies at the respective locations in diverse ways and thus politicize these bodies. The NOMADIC ACADEMY does so in order to investigate what powers to act are inherent in movement and bodies. Can they transcend borders, move them, make them visible or even tear them down? These debates will always be addressed on two levels: on a physical, dance level (searching for physical tools, choreographic settings, giving physical experiences etc.) as well as on an intellectual level in discussions and lectures.
So the need for queerness, for other and alternative ways of moving, living, being together is very present and compelling. The need for not following given pathways, the need for otherness, the need for empathy, the need for collectivness, the need for visibility… Art and dance is a perfect negociating and meeting point, a social-political discurs platform, to reflect and discuss together for other ways, for taking risks and propose alternatives.
During this three years we will collaborate with three partnering countries:
Poland, Palestine and Greece.
The NOMADIC ACADEMY will each time and in each country focus on the particularity of these places in collaboration with local artists, curators, initiatives and institutions. Thus continuing and expanding the research in order to establish a continuous discours.
Almost 200 years ago, the writer Charles Dickens invented the orphan Oliver Twist, who, with his desire for a little more food, challenged an entire system. A child without a family, without a home and without rights – nothing unusual in Dickens’ day.
Last year on the 30th anniversary of children’s rights, Dreummaschine Inc. asked themselves: What has changed since then and what has remained? What is universal and is every child entitled to?
With the means of the theatre and tricks such as whispering, nightmare interpretation and pickpocketing they reconstructed together with their young audience a child’s fate and gave the story a new twist. This is how the play O Twist was developed.
This year the play was to be adapted for a Hamburg audience in the Fundus Theater. To mark the occasion, Dreummaschine Inc. transferred the piece into an audio version: Even in the Munich version, the focus was on a binaural audio experience, which was extended to the entire piece in the radio play version: if you use headphones, you hear everything as if it were happening right around you. Filmmaker Timo Schierhorn developed a video layer to the audio experience.
In times of Corona-conform art, Anna Konjetzky, Sahra Huby and Quindell Orton show with their “lockdown sketches” what has occupied them as an “infection community” in the last months in Anna Konjetzky’s Playground. The main focus is on Sahra Huby’s drawings as well as the physical confrontation with the extraordinary situation.
The exhibition is designed according to the legal hygiene standards. Further information is available at
info@ratundtat-kulturbuero.de.
The body is a political arena: it symbolises power, powerlessness, status and belonging. With and through it we create our social and cultural identity – just as we attribute it to others. Individuals thus become groups. Society is divided into segments. Homogenous spaces are created, exclude others and hold the individual in the cycle of peer groups and filter bubbles. In this field of tension between making differences visible and creating community, DIVE. A Celebration is located in this field of tension. Anna Konjetzky’s new production unfolds identity simultaneously as a permanent construction and as a deconstruction of overlapping, parallel actions, self- and third-party attributions. The perception and assessment of the individual protagonists wanders, shifts, becomes a costume or an unstrippable skin. Using the artistic means of choreography, music and language, stereotypes and identities are sampled, mixed and scratched until a new, collective beat is created. DIVE. A Celebration asks for something in common that is not based on similarity, but can emerge despite or precisely because of differences. With a crew of seven performers living in South Africa and Germany, the Munich-based choreographer creates a celebration of heterogeneity.
An installation by Judith Hummel at Köşk (Munich Westend)
Walking – from Romania to Germany
Stage 1 Săcălaz – Szeged By walking, by going back, Judith Hummel searches for her own origins and lays a trail around the fields of memory and body. On several stages, accompanied by her mother Margret and the camerawoman Laura Kansy, she follows the route of her grandmother, who fled from Romania to Germany in 1944. In June 2019, they walk the first part of the route from Săcălaz, the home village of their grandparents, to Szeged in Hungary. Material recorded along the way will be used to create an installation with video, sound, memorabilia and live moments.
