Performance
THE URGE
CEREN ORAN
Jaký pohyb se vejde mezi postel a skříň? Lze zatančit klasickou variaci u kuchyňské linky? Nebo si připomenout release techniku na balkoně? Lock-down. Nemožnost vyjít ven, na taneční sál, do divadla, potkat se s diváky či ostatními tanečníky, rodinou či přáteli.Na jaře 2020 zaplavila sociální sítě home videa, která jsou svědectvím o touze tanečníků a choreografů tančit a zůstat v kontaktu, zůstat viditelní Choreografka Ceren Oran několik z nich vybrala jako inspiraci ke svému nejnovějšímu projektu "The Urge", který umístila záměrně do veřejného prostoru.
"The Urge" čerpá inspiraci z frustrujícího zážitku rok a půl trvající pandemie a odloučení, ale společně s tanečníky ji transformuje v cosi vysoce vitálního, v nejlepším slova smyslu nakažlivého, ve sdílení radosti, energie, fascinace pohybujícího se těla, v intenzivní sdílení okamžiku tady a teď v přímém kontaktu s divákem ve veřejném prostoru.
Koncept, umělecké vedení a choreografie: Ceren Oran
Choreografická spolupráce: Maayan Reiter, Rotem Weismann
Nastudování: Jin Lee
Tančí: Klára Ešnerová, Michal Heriban, Michaela Kadlčíková, Tomáš Pražák, Jana Ryšlavá
Hudba: Hüseyin Evirgen, Marcela Kučová
Dramaturgická spolupráce: Karolína Hejnová
MANUS Art Collective CZ
Tepy čar
Beat. Pulsation as a sign of life, rhythm. A line. A line determining direction, a means of recording and capturing shape.
Tepy čar is a performative project combining the live music of Sára Vondrášková / Never Sol, live painting of Lukáš Musil / Musa and choreographer Štěpána Nlasa Mfuta. We bring to the stage a visual poetics of movement and painting. We create a world, an ever-changing landscape of bodies. Capturing lines that take us from the inner to the outer world and back again.
We return to our roots and to the power of the essence of the individual, leading us to rituals. We return to the caves, where the pictorial capture of the moment can be our future guide. We return to ourselves.
Creators & cast
- Choreography Štěpána Nlasa Mfuta
- Artistic cooperation Lukáš Musil
- Music Sára Vondrášková
- Performers Eva Mora González, Klára Ešnerová, Šárka Říhová, Lukas Bláha, Tomáš Wortner, Šimon Klus
- Light design Dominik Šimurda
- Technical cooperation Romana Stachovičová
- Professional cooperation Barbora Půtová
- Dramaturgical cooperation Jan Razima
- Costumes Eva Judová
- Photo and video Ekaterina Fonina
- Graphic design Lukáš Lebeda
KOŠILICE A OKŠILA
MANUS ART COLLECTIVE
Shirts, blouses, halenka, košilela, košilice, Košilímec, Košulena, Ošklilela, Halenula, Blůzole > a part of clothing, part of social ethics, clothing of many faces.
In our create world have a meeting of three different characters. Looking for an inner transformations through a fashionable piece of a shirt that can hide a feeling of power, strength, superiority. It is also a fashionable piece that makes us better on the outside. Do we have the opportunity to hide under the application of these textile layers and perform better in our eyes? Or is it just a blind lie that accompanies us all the time? Will the environment treat us differently in relation to our appearance and clothing? Will there be a difference in our behavior if we wear jeans and a T-shirt or if we choose to wear a shirt and pants? And isn't this way of thinking absurd? We are trying to have a many forms and versions of our "better" selves but in essence we all look the same when we are undress. But the influence of society pushes us to certain ideals.
Team:
Choreography, concept: Štěpána Nlasa Mfuta
Interpretation: Lukáš Karásek, Klára Ešnerová, Václav Kalivoda
Music: Václav Kalivoda
Dramaturgy: Šimon Klus
Scenograpgy: Anežka Kalivodová
Light design: Tomáš Morávek
Production: MANUS Art Collective z.s.
The backyard - It's gonna be horse
Jos Baker - "The End"
It's Gonna Be Horse is a physical and visual dance performance by youngsters for youngsters. A piece in which everything is possible and everything is necessary. YouTube is playing in the background, as always.
For more information visit:
https://thebackyardcollective.be/
(photos by Nathan Ishar)