3 performers, 2 musicians, 1 technician

stage: 15 x 10 m - no seating

Duration: ca. 0:50 h

 

Premiere: September 15, 2017 – in connection with the Beethovenfest Bonn,  Hall „Genf“, World Conference Center Bonn

Swiss-Premiere: January 14, 2018, Théâtre du Crochetan, Monthey (CH)

 

In collaboration with: Théâtre du Crochetan Monthey, Ringlokschuppen Ruhr Mülheim, Theater im Ballsaal

 

Funded by: Kunststiftung NRW, Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen, Bundesstadt Bonn, Théâtre-ProVS, Le Conseil de la Culture Etat du Valais, La Loterie Romande

 

By and With: Álvaro Esteban, Werner Nigg,  Daniel Morales  and also movement research: Fa-Hsuan Chen, András Déri, Martina De Dominicis, Greta Salgado, Susanne Schneider, Marie Viennot  

Live-Electronic, Composition:

Jörg Ritzenhoff

Choreography: Rafaële Giovanola

Piano: Beatrice Berrut

Light design: Tobias Heide

Costumes: Annika Ley

Advice: Light, space: Boris Kahnert

Choreographic Assistant: Leonardo Rodrigues

 

Dramaturgy, Concept: Rainald Endraß

Management: Mechtild Tellmann

Pictures: Klaus Fröhlich

Video trailer: Michael Maurissens/ Carré Blanc Productions

ABOUT THE PIECE 

 

In GHOST TRIO A – corps furtifs, which premiered at the 2017 Beethovenfest in Bonn, everything revolves around images of physicality that seem to dissolve, then suddenly reappear with new movements and a new idea of life. The perception of ghostly bodies aims at the dissociation of the body from previously existing stories.

 

PRESS CLIPPINGS

 

In order to make the misalliance of music, choreography and dance at the same time visible, audible and comprehensible, the production created a magnificent spatial environment which, through its free arrangement, opened for the spectator multifaceted perspectives, at times even catapulting the audience right into the dance action. ... In that environment, Rafaële Giovanola's choreography lets the dancers oscillating between reality and fiction, fluctuating and floating through the movements. … One cannot display more vividly the separation from one's own corporeality. As it is often the case with the dance productions of CocoonDance, the spectator must find himself either a steady hold or a vanishing point from the reality. ... Dancing as a pure form of representation is far exceeded in this concept, but the dance is assigned to perform existential tasks of life analysis and coping with life itself … . A strong piece.

(Klaus Keil, www.tanzwebkoeln.de, Nachtkritik, 16.09.2017)

 

Once again an exciting play with the perception, which is often the subject of exploration in the productions by choreographer Rafaële Giovanola and dramaturge Rainald Endraß  ... . In this piece, which as a further reference is inspired by Samuel Beckett's cinematic Beethoven tribute "Ghost Trio" from the 1970s, the horror becomes a driving moment. This is almost physically palpable when one of the dancers crosses the room completely unclothed, shivering and gasping: he is the personified naked fear. A deeply impressive evening ... . (Bernhard Hartmann, General-Anzeiger, 18.09.2017)

 

At the forefront of the production is the "ghostly" of the title, understood as the complex of the unexpectedly apparent, only shadowy localizable, the lack of trust in one’s own judgement, the puzzling strangeness of perception and encounter. ... This (piece) is choreographically exciting and ingeniously structured. … GHOST TRIO A - CORPS FURTIFS is mysterious and fascinating at the same time. (Jürgen Bieler, Bonner Rundschau, 18.09.2017)