Théâtre du Crochetan Monthey (CH)
Ringlokschuppen Ruhr Mülheim (D)
6 Performer, 1 Technician
Stage: 10 m x 12 m
Duration: ca. 1:00 h
In coproduction with: Théâtre du Crochetan Monthey, Theater im Ballsaal Bonn,
Ringlokschuppen Ruhr Mülheim
Funded by Kunststiftung NRW, Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen, NRW Landesbüro Darstellende Künste, Bundesstadt Bonn, Pro Helvetia, Theatre-ProVS, Le Conseil de la Culture Etat du Valais, La Loterie Romande.
Supported by NATIONALES PERFORMANCE NETZ Coproduction Fund for Dance,
funded by the Federal Government Commissioner for Culture and the Media
and Malévoz Quartier Culturel.
Performance: Cristina Commisso, Álvaro Esteban, Clémentine Herveux, Marin Lemić, Colas Lucot, Susanne Schneider/ Margaux Dorsaz - also research: James Batchelor, Fa-Hsuan Chen, Martina De Dominicis, Silvia Ehnis, Mijin Kim, Manuel Kisters, Frédéric Voeffray • Choreography: Rafaële Giovanola • Dramaturgy: Rainald Endraß • Composition: Franco Mento, Jörg Ritzenhoff • Space, light design: Peter Behle, Boris Kahnert • Costumes: Fa-Hsuan Chen • Workshops Ballroom dancing - Standard: Yulia Lorenz, Paul Lorenz, Randolph Han,
- Forró: Charlotte Brohmeyer, Eduardo Lima • Artistic advice: Mélisende Navarre • Presswork, social media: Lena Busse, Maud Richard, Fabiana Uhart • Production management: Lena Peters, Maxime Rappaz • Management: Mechtild Tellmann, Cologne/ Management Switzerland, Austria, France: GROUNDWORKERS, Vienna
ABOUT THE PROJECT
This posture looks damn uncomfortable. With an overstretched spine they bend their heads and upper bodies forward, while, so to speak, the arms and hands are running in front of them. The pelvis is at the top, as if it had taken the lead in relation to the head. In a nonchalant and elegant manner, the beings actually seem to enjoy the reversal of the upright gait, turning themselves towards a world at our feet, as if being lured by an alien power.
In STANDARD the world is turned upside down. And that even though the standard dance understands how to masterly stage the social order and the self-control of its members. For centuries, the waltz, tango, foxtrot, etc. have claimed to be the ultimate expression of the processes of civilization.
Ballroom dances are reflections of their time, through which body techniques are culturally practiced and exercised. In addition, very different subject concepts are again and again negotiated on the dance floor, which, in a literal sense, opens up new, revolutionary experimental worlds.
The CocoonDance company deals with ballroom dancing as if it was a completely unknown form of movement. Ballroom dancing, in the form of standard dances, is understood as a comprehensive body concept and deconstructed and transformed with regard to an independent new type of movement and physicality.
In search of the 'unthought body' CocoonDance explores the contradictions inherent in ballroom dancing, of freedom and control, improvisation and notation, desire and decency. The resulting creatures take us into a world of swaying elegance.