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Konkordanz
Performing Arts Festival Berlin 2016
Friday, May 27, 6PM
Club der polnischer Versager
Ackerstr. 168
Free Entrance
Between the primordial and the modern, myth and deconstructionism, Konkordanz is an experimental performance that positions the body of the performer within the medium of sculpture and the existential conflicts of Samuel Beckett's literature. The performance is set to a 97-minute audio tape recording of a score generated by the concordance indexing method applied to Beckett's novel The Unnameable.
Das Performing Arts Festival Berlin 2016 wird veranstaltet vom LAFT Berlin in Kooperation mit den Spielstätten Ballhaus Ost, HAU Hebbel am Ufer, Sophiensæle und Theaterdiscounter. Das PERFORMING ARTS FESTIVAL BERLIN 2016 des LAFT Berlin wird gefördert durch das Land Berlin - Senatskanzlei (Kulturelle Angelegenheiten) aus Mitteln des Europäischen Fonds für Regionale Entwicklung (EFRE) im Programm "Stärkung des Innovationspotentials in der Kultur II (INP II)".
Manifold v.0.8
Tuesday, April 26
Doors at 21:30H, Show at 23:00H
Entrance: 4 Euro
Eschschloraque
Rosenthaler Str. 39
Manifold is an experimental music and dance performance about multiplicity - multiplicity of thought, of gesture, of word, of desire, of sound - and the repercussions of living with this whelming horde.
Manifold v.0.8 is the first operational research performance of Manifold at Eschschloraque, featuring Patrick Faurot (director/dancer, USA) and Robert Kondorosi (engineer/musician, DE). The music is generated by a sequencing of analog loops, delays, and feedback devices. The sounds and texts generated onstage will be re-routed through a matrix mixer and transmitted via long-wave radio to discrete receivers within the audience.
Osmosis II
September 14-26
Poznań - Kórnik - Berlin
20.09, 14:00 - KÓRNIK (PL) - Arboretum, open space
21.09, 19:00 - POZNAń (PL) - Centrum Kultury Zamek, Sala Pod Zegarem
26.09, 20:00 - BERLIN (DE) - Plateau Gallery, Greenhouse, 8th Floor
OSMOSIS is a yearly research laboratory designed to explore the relationship between movement and sound via the body as a fundamental source of information. The laboratory is intended for musicians and dancers to experiment and explore the physicality of sound, the sonic dimension of movement, the role of energetic waves in both mediums, and how these aspects influence each other within the compositional process.
The project engages in a dialogue between experientially focused exploration and performance oriented research. The laboratories are therefore complemented by public performances in order to share the research with local artists and audiences.
Bringing together international artists (this year from Poland, Germany, France, Japan and South Korea) based in Berlin and Poznań, it is an occasion to exchange practices, interests and cultures, as well as finding new tools and approaches to refine the communication between music and dance.
The second edition of Osmosis laboratory, taking place in Centrum Kultury Zamek, Poznań (PL) in September 2015, will consist of nine days of intensive physical training, building of attention in listening, observation and discussion. In a collective process, the participants will be researching methods in both disciplines to enter into deeper levels of communication with each other.
The laboratory will culminate this year with three public performances at the Centrum Kultury Zamek, Arboretum in Kórnik (PL) and Plateau Gallery (Greenhouse), Berlin (DE)
Hufschlag und Hortensie
Manakùna by Manon Parent and Pascal Parent
Vvedensky Train by Patrick Faurot
Friday, June 5 at 7pm
Saturday, June 6 at 8pm
Acker Stadt Palast
Ackerstr. 169/170
Tickets: 13 euros, 8 euros reduced
Reservations: karten@ackerstadtpalast.de, 030/4410009
Surrealist (i.e. faux-hermetic) poetic teleportation via operatic form and animal mask, experimentation; intersection on vibrational plane with; percussive becoming of cellular memory recall of space/time-transcendent flow lines, archetypal experience oscillations.
Manakùna
In Manakùna, the moving bodies compose with ancestral traditions and with what they encounter "now". Their dances oscillate between fundamental energies and modern concepts. In dialogue with the music composed by Pascal Parent for drums, the choreography seeks a reconciliation of times in and through the human body.
The universal dimension of the percussive flow, its presence in every single human culture, shows the path of a basic understanding of human nature. Recalling this path, calling upon cellular memory and dreams, the choreographic score is an evolving response to the percussive parameters of the music that unites bodies and dances in a vibratory timeline.
Vvedensky Train
For mezzo-soprano and baritone voice, saxophone trio, analog electronic devices, contra-bass, percussion, and two dancers, Vvedensky Train is an experimental opera based on the bessymiltza poetry of OBEIRU poet Alexander Vvedensky. Impressionistic and surreal, Vvedensky manifests the obscure Soviet poet's fantastic approach to reality and meaning.
un(_)requite(_)d
World Premiere
March 13-16, 2014, 20:00 h
Acker Stadt Palast
Ackerstr. 169/170, 10115 Berlin
Tickets: 13 Euro/8 Euro reduced
Reservations: karten@ackerstadtpalast.de
Telephone: 030/4410009
Tickets are limited, reservations are highly encouraged!
Photo: Laurence Heintz
The English opera derives from the Italian opera from the Latin opera meaning literally a "work, labor, effort." Elson's Music Dictionary defines opera as "a form of musical composition evolved shortly before 1600, by some enthusiastic Florentine amateurs who sought to bring back the Greek plays to the modern stage."
It is rather in the etymological sense of the word, but neither so distantly from the historical sense, that we present to you the original and experimental dance-opera un(_)requite(_)d, our labor of the past half-year.
For three dancers, string quartet and noise musician, un(_)requite(_)d is the poetics and mechanism of attraction and limit, the ensuing resonant chaos, exhaustive plateau, and system catastrophe, of a certain kind of love.
It is flight, image, abandonment, control. The other, the beyond, the pathetic, the beautiful. The word and the noise.
Artistic Direction and Choreography: Patrick Faurot
Dramaturgy: Hendrik Sodenkamp
Director Assistent: Sunniva Vikør Egenes
Composition: Manon Parent, Noga-Sarai Bruckstein, Amélie Legrand, Lucian Moreno, Tatsumi Ryusui
Dancers: Michiyasu Furutani, Lysandre Coutu-Sauvé, Asayo Hisai
Violin: Noga-Sarai Bruckstein & Manon Parent
Cello: Amélie Legrande & Lucian Moreno
Analog Eletronic Audio Machines: Tatsumi Ryusui
Costume Design: Marcus Barros Cardoso
Costume Assistent: Emeraude Pointe
Make-up: Nicolay Mayer
Stage Design: Lisa Buchholz
Technicians: Moritz Pfeiffenberger & Anne Hübschmann
Graphic Design: Sarah Baron-Brljevic
UMIDITA Collective Choreography Project Entitled Series #1
February 11, 2014 @ 8PM
Acker Stadt Palast
Ackerstr. 169/170
Tickets: 7 euros, 5 euros reduced
Reservations: karten@ackerstadtpalast.de, 030/4410009
collectivechoreographryproject.wordpress.com
Photo: Maria Papadoploulou
Choreographers: Mariela Nestora (GR/GR), Carolyn Deby (CA/UK), Fotis Nikolaou(CY/GR), Patrick Faurot (USA/DE)
Costume/set designer: Maria Papadopoulou
Performer: Mariela Nestora
In nine rehearsals, four choreographers and a set/costume designer co-created UMIDITA, a full-length performance for solo dancer. Remarkably, rehearsals were held through Skype, connecting the physically remote choreographers living in Athens, London and Berlin.
"Umidita" is the Italian word for "humidity." UMIDITA is the humidity inside the body, within body fluids, the climate, space, the urban landscape, in and on buildings; it refers to emotion, desire, illness, decay, aging, death, history. Ultimately, UMIDITA discusses what is beyond us. The body accepts, wins, denies, revolts against, and lives the beyond, and through these cycles, the body writes its own history in itself. One can read UMIDITA as (auto)biography or as existential allegory.
UMIDITA responds to and was created for Kolektiva Omonia's festival "That which I was nearly deprived of" at the Self-organized Embros Theater in Athens in May, 2013. Since its premiere, UMIDITA has been performed at the Greek Choreographers Association Dance Festival at Geni Tzami, Thessaloniki, June 2013, the Unbox Festival at The HUB, Athens, December 2013, and at Agony Art at Chrisenhale Dance Space, London, January 2014.
In Rehearsal: un(_)requite(_)d
Premiere: March 13-16, 2014
Acker Stadt Palast
We are currently rehearsing a full-length "dance opera" entitled un(_)requite(_)d to premiere on March 13th at the Acker Stadt Palast in Berlin. The work is for two violins, two cellos, electronics, soprano, and four dancers, and, as so many operas before it, treats on the theme of unrequited love.
We will be releasing a trailer for the opera in early February, so check back in soon! In the meantime, you can listen to Claire Lefilliatre sing Monteverdi's Lamento Della Ninfa.
"I shall soon be quite dead at last in spite of all."
100 Grad Festival 2013
Sophiensaele Festsaal
February 24th, 18:00
Choreography and Concept: Patrick Faurot
Performers: Patrick Faurot, Luc Reboullet, David Necchi
Sound Technician: Florian Metzger
Light Technician: Space Traveler
Text: Samuel Beckett
In relation to the novel Malone Dies by Samuel Beckett, "I shall soon be quite dead at last in spite of all" is a choreography of compulsive actions and words, of inertia, and of exhaustion. Thought and action being uncorrelated, the mind and the body move at different speeds, or rather the mind and the body move in alternate directions, or rather the body is at rest and the mind is in motion. Or the body is at rest in space but in constant internal motion while the mind gawks at the body. The essential shape is the circle, or perhaps the line; both reduce to a point. The essential image is a man lying on his deathbed via a man riding a bicycle. "If I had the use of my body, I would throw it out of the window."
Prophet Study #7 - 11.12.12 at Eschschloraque
Study #5 for Prophet Machine @ ada Studios '10 times 6'
November 10 and 11, 20:30
ada Studios & Bühne für zeitgenössischen Tanz
Study #5 for Prophet Machine is a choreography for three dancers that explores the individual in a manic state. Influenced by Gilles Deleuze, the individual is a series of machines - an imagining machine, a gestural machine, an obsessive machine. It is the fifth study in a series of dances portraying a profane experience of divine prophecy.
Tickets: 7-12 euros sliding scale
Seating is limited. Reservations can be made by telephone or email.
ada Studios & Bühne für zeitgenössischen Tanz
in den Uferstudios / Studio 7
Uferstrasse 8/23
U8 Pankstrasse / U9 Nauener Platz
Tel. 030-218 00 507
ada-berlin@gmx.de
www.ada-studio.de
Study #6 for Prophet Machine at Eschschloraque
October 16, 23:00
Study #6 is a choreography of compulsive actions and words, of inertia, the inertia of the body and of the mind, and of exhaustion.
Choreography and Concept: Patrick Faurot
Dancers: Patrick Faurot & Axel Meyer
Music: Space Traveler & Moondog
