Rehearsal pictures: © Caroline Minjolle Steps 2022
8 Performer, 1 DJ, 1 Technician
Space: 12 m x 12 m
Duration: probably 1 h
Premiere: 07.05. 2022
Théâtre du Crochetan Monthey (CH)
Coproduced by Steps Festival, Théâtre du Crochetan Monthey, Beethovenfest Bonn, Ringlokschuppen Ruhr Mülheim, Theater im Ballsaal Bonn
Funded by Migros-Kulturprozent, Pro Helvetia, Conseil de la Culture État du Valais, La Loterie Romande, Stiftung Corymbo, Ernst Göhner Stiftung, Oertli-Stiftung, Kunststiftung NRW, Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen, NRW Landesbüro Freie Darstellende Künste, Bundesstadt Bonn
and NATIONALES PERFORMANCE NETZ Coproduction Fund for Dance, which is funded by the Federal Government Commissioner for Culture and the Media.
In collaboration with Residenzzentrum tanz+ - Tanz & Kunst Königsfelden, Kurtheater Baden, Stiftung Züriwerk, Förderverein Theater Hora, Antigel Genf, Service de la culture et de la communication de la Ville Vernier, Théâtre Sévelin 36 Lausanne, Le Malévoz Quartier Culturel
By and with: Cristina Commisso, Fa-Hsuan Chen, Margaux Dorsaz, Álvaro Esteban, Jenna Hendry, Joana Kern, Evandro Pedroni, Yonas Perou • Research: Kamau & The Wolf, Kud Kolo, Theater Hora, The Iconic Kiki House of Juicy couture, Frédéric Voeffray • Choreography: Rafaële Giovanola • Composition, Live electronic: Franco Mento • Light design, space: Robi Voigt • Costume: Veronika Kaleja, Mathilde Grebot • Choreographic Assistance: Jade Albasini • Dramaturgy: Rainald Endrass • Video documentation, photo: Michael Maurissens, Hugo Pratap Parvez • Presswork: Fabiana Uhart • Social media: Maud Richard
• Production management: Kira Koplin,
Lena Schmidt • Touring: Kira Koplin
• Management: Mechtild Tellmann
ABOUT THE PROJECT
The starting point of "RUNthrough" is a wide variety of encounters and research with different “bodies”: dancers meet rapper, actors, folklore and sport clubs and voguing community.
A project in which choreographic styles intermingle to create a fascinating composition that combines a plurality of body languages. Creative experiments with movement have emerged from the joint research of four workshops with multiple performative universes: the energy of the Kud Kolo troupe, the vivacity of the rappers Kamau & the Wolf, the voluptuousness of the voguers of The Iconic Kiki House of Juicy Couture and the sensitivity of the artists of Theater Hora.
The gestural material collected during these residencies becomes a source of inspiration. On stage, eight dancers and a live DJ translate and transform them into a strange and innovative language. The fusion of these influences generates a liberating flow that flows over the audience, supported by the beats of musician Franco Mento. The performance creates a surprising perception of the body in motion.
I don't think there is one way to describe this dance, but rather that each viewer has made their own journey through the piece, seeing things and feeling emotions without perhaps even being able to find words for it! I've seen bodies, I've seen souls, I've seen horses, moths and locusts, puppets on loose strings, lost souls, group power, fragility, empowerment, poetry, quest, new worlds, amazement. Everything is constantly evolving, each body always ready to transform, but always remaining true to oneself. Bodies which throughout the performance never stopped pulsating. (Serena Bonetti, Il Bernina, 17.05, 2022)
The fusion of numerous influences unleashed an intoxicating energy that carries away the audience and lets them experience a new kind of motion perception.
(Enrica Praolini, IL Grigione Italiano, 19.05.2022)
Suddenly, I had the feeling that the stage was now coming towards us like a wave. It rotates - as a globe. Fish! They are fishes. Dancing fish people. Everyone is in the water or did this really look like a starfish dance? ... I think they love Rock 'n' Roll. Rock planet CocoonDance!
(HORakel, Gianni Blumer, Robin Gilly, Theater Hora, Zurich)
In Morges: The Burning Cauldron of Urban Dances (title)
Seductive, this RUNthrough? Yes, at least in spirit. Faithful to their method, Rafaële Giovanola and her team met other artists, in many different languages. They have stocked up on sounds and images. This is how they became familiar with voguing, this street dance where you strike a pose like on the fashion catwalks. Game of postures. This carnival, grandiloquent and ironic, outraged to the point of the grotesque and provocative, which is the subject of RUNthrough. Eight technically remarkable dancers made this loot bear fruit.
Faces cut into the night. The breasts rise and fall in a cascading fashion. These men and women are waves. They swell and hollow, caught in a shock wave that never stops spreading. Suddenly, a horde of excavated rushes at you, knees bent, tribal torsos. Later, they will fall, arching like bows, and rise again like on a trampoline.
So why is it not convincing then? Because these polished images are not enough to hide the absence of a universe. Because we seek the uniqueness of an artistic gesture, only to find a show of force – whereas voguing is by nature libertarian. … RUNthrough is an honorable show. It is formatted to please. The cauldron of urban dances seemed to promise other uprisings. (Alexandre Demidoff,
LE TEMPS, 20. 05.2022)