Athens & Epidaurus Festival Bizarrely Filled with Belgian Dance by Jan Fabre
Belgian multidisciplinary artist Jan Fabre has accepted the invitation by the Greek Ministry of Culture & Sports to head the annual Athens & Epidaurus (International) Festival as Artistic Director for the period 2016 – 2019. However, he’s since renounced the title in favor of “Curator,” and what was formerly known as the Greek, then Hellenic, Festival, and last known as Athens & Epidaurus Festival, now appears to be a Belgian event held in Greece. A tragicomedy, indeed, extravagantly placed in such an ancient theatre as that of Epidaurus, built by Polykleitos the Younger in the 4th century BC.
Don’t have more female choreographers for the sake of it”
Dear Akram Khan,
We, the signatories below, contemporary dance artists, members and supporters of the
international dance community, take issue with your statement published in The Stage
concerning the imbalance of female and male choreographers. This is a public response to
you and to others working in and around dance, who are responsible for making change.
Your considerable influence and visibility in the dance sector, both professionally and in
national curriculum education, gives institutional weight to your opinion. Statements can
easily be taken out of context by the press to sensationalize stories; this we understand.
This is not meant as a personal confrontation but rather a necessary response to the issues
raised in the interview. However, you, and others in positions of power, must be aware of
the context and responsibility of your position, and the damage that you can inflict.
Therefore it is our obligation to address our concerns publicly as well.
A Month to Embrace Unpredictability in Dance
By GIA KOURLASDEC
Paul Taylor might seem like an odd way to get into a discussion of avant-garde dance. But once upon a time, he was at its forefront. In the documentary “Dancemaker,” there’s a still image from Mr. Taylor’s 1957 “Duet,” in which, for four minutes, he did nothing more than stand behind a woman seated on the floor with her skirt draped over her legs. This work and others in “Seven New Dances” made history — as did Louis Horst’s review in the magazine Dance Observer: four inches of blank space.
Stabbing at Art Basel Miami Beach Mistaken for Performance Art
By Jackson McHenry
A fight between two female patrons at Art Basel Miami Beach last night escalated when one of them pulled an X-Acto knife and stabbed the other in the arms and neck, the Miami Herald reports. The woman was taken to the a local hospital with non-life-threatening injuries, according to a spokesperson for the police department, while many on the scene were left wondering what to make of the events. According to a source for People, “Some of the patrons inside thought it was performance art, or a performance.” According to the Herald, others also mistook the police tape set up following the event for an art installation. A spokesperson for Art Basel told the paper that “the attack was an isolated incident” and event personnel have worked to move forward with the event. Another guard reportedly explained the incident to a bystander by saying that a very expensive statue had fallen on someone
On Schönheitsabend by Vincent Riebeek and Florentina Holzinger
By Ellen Söderhult
Schönheitsabend is a performance created and performed by Florentina Holzinger and Vincent Riebeek. It is a collage of references taken out of context and manipulated in ways that makes us experience them differently and messes with ideas of dramaturgy, puts beauty right next to silly, romantic next to cheap, formal next to trashy, sexy pole dance next to dramatic ballet. The experimental approaches popular, megalomaniac or avant-garde meets lame and skillfulness overlaps just-enough. Or other ways around, but it restructures sensuous relationships between things. In that sense, one could put it under the label “postinternet”, because dance history is no longer necessarily chronological, and what is considered dance history does not anymore have to be confirmed by the same gate-keepers. The internet does not only change what is archived and available, but probably also how we are conditioned to or abled to think dramaturgy. The way of using and mis-using dance history is made even more exciting because of Holzinger’s and Riebeek’s way of executing the material in an almost sport like manner, and by insisting on transforming the heteronormative heritage into something queer, in which gender roles are dispersed, re-written or opposed.
IVO DIMCHEV ON ROTTERDAM SCHOWBURG
Last night I performed Operville – a new work of mine at Rotterdam schouwburg one of the very prestigious and rich theaters in Holland. In the audience there were exactly 13 people.
Dear presenters working for this theAter, obviously the main efforts of your PR goes for promoting the main stage where musicals, ballet companies and large dutch theAter productions are presented. Nobody really cares about the smaller stage /150 sits/ where more experimental and innovative productions take place. Im really grateful for inviting my work , it shows that you have a good taste and balls, and Im also thankful for trusting me , but someone somewhere in your administrative team needs to understand that if this work does not reach a broad young audience which is surely available in bigger cities, presenting the work does not really make sense. Im happy to have job, to earn money by being invited in good theaters, you obviously also have good salaries working for the same theaters…but there are also other important , even more important aspects of our “job” and one of them is spending money and energy on connecting this work with the right audience! You have the money, if you bring the energy as well would be wonderful „heart“-Emoticon
OPENING OF THE KATALYST FESTIVAL, NIGHTREVIEW
NO PICNIC by GERTJAN FRANCISCUS
by Nicole Strecker
The late 60s had the Theater artist to be ready at all times to: Feels the audience provoked, he might storm the stage. Claus Peymann had gladly served this together with Peter Handke and still pushed by hand at the legendary “Offending the Audience” the audience of his stage. In a subsequent “staging” of a piece entitled “The There’s only one”, he denied equal all the drama, leaving viewers simply a stage full of requisits- and they, betrayed in viewing a real performance, entered the stage and destroyed all props around. Also Marina Abramović documented once the violence of the audience and the vulnerability of the performer, as in 1974 with “Rhythm 0″ their viewers weapons ranges and delivers the flickering aggression. At the end she was half-naked, bloodied wounded, threatened with a gun.