Author Archives: Moritz Majce

Call for Choreutic Movers: 8+9 July 2017 (+Oct/Nov)

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Narziss Echo, model view

WE ARE LOOKING FOR PEOPLE WITH MOVING/DANCING EXPERIENCE WHO LIKE TO WORK IN A GROUP.

Part 1: 8 + 9 July 2017, 16–20h Uferstudios (can be done separately)
Part 2: 10–14 days rehearsals in October 2017
Part 3: 4 presentations in early November 2017

We are working on a revised version of our piece „Narziss Echo“ (http://www.moritzmajcesandraman.com/narzissecho). The premiere was in March at imagetanz festival in Vienna and there will be presentations in the beginning of November in Berlin at Open Spaces festival of Tanzfabrik. For the performances in Berlin we will be reworking some parts and making new ones. While in the first version we have been working with a single dancer we now want to work with what we call a „space chorus“ of 12–15 people.

The project deals with the relation between audience and performer, engaging in questions of looking and identifying as performing (watching, being looked at, being/performing a spectator); it is an installational setting with a limited amount of audience members. We will play with the inside and the outside of the setting, using the whole space incl. the audience area as the stage and moving spectators only slowly from the frame and the outside into the inside and the seats of „their“ space.

First, there is a video shooting on 8th and 9th July, from 16–20h at Uferstudios. Second, there will be appr. 10–14 days of rehearsal in October. Third, there will be four shows in Berlin in the first November week. We cannot pay for the video shooting, for the presentations in October and November we do have a budget. For more information about our work see www.moritzmajcesandraman.com

If you are interested please send a mail incl. CV to ms@moritzmajcesandraman.com

Open Studio: Call for Audience: 29 June, 4+5 July

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Tryout at 3AM – Filaments and Voids, photo by Rasmus Bell

Thursday, 29 June 2017, 20h30
Tuesday, 04 July 2017, 20h30
Wednesday, 05 July 2017, 20h30

Künstlerhaus, Am Flutgraben 3, 12435 Berlin

Between representation and participation lies the audience space. It is the space where a piece takes place. It is bigger and wider than we usually think and feel. It has more than one side, it is multidimensional. It is your body with all its weight and volume, with all its senses: listening, watching, feeling – in all directions.

Let’s try to see the Zuschauerraum, the space reserved for the audience, differently: not as the space where an audience is placed to watch the piece but as the space an audience is being given by a piece. Let’s understand and experience Zuschauerraum not just as a designated area in a building but as the space of a perceiving audience; a space that is not anyway there before and after the piece but a space that consists of Zuschauerkörper – perceiving living breathing feeling moving bodies full of energies, impulses, desires. Let’s think Zuschauerraum not as the seats you are taking but as the space your bodies are making. Let’s try out and explore this Zuschauerraum in present tense.

It’s common to expect and wish that performers move the audience. Let’s find out what it could be for performers to not only move the audience but be moved by it. Be moved by gazes, breaths, sounds, by the impulses and energy of an audience; by where the audience is and how it is. By an audience who is present, open, aware of all senses and thus transformed in a way that allows to fully explore all sensual dimensions of watching.

What would it need for that – as a training for performers as well as audience members?
Could there be a training that includes and involves an audience as well as performers? Is there a way to work on and explore the act of watching, the energy of perceiving as what moves the performers? What comes out if the performance becomes really dependent on the real presence of an audience? What happens if there is nothing else or behind this being perceived and being perceived becomes being moved?

During the last two months we trained a lot to be open and to use all our senses. We worked on looking, listening, feeling as relations to each other and a flow of contacts as reasons to move and be moved. We would like to find ways of sharing this openness with an audience who wants to become part of the contact zones we try to open up and dive in.

We propose three evenings of rehearsals with audience; we would like to find out more about the experience of being a Zuschauerkörper and about the ways our bodies can be moved by your presence.

WHEN
Thursday, 29 June 2017, 20h30
Tuesday, 04 July 2017, 20h30
Wednesday, 05 July 2017, 20h30

WHERE
Künstlerhaus
Am Flutgraben 3
12435 Berlin
(next to Badeschiff, Arena and Club der Visionäre)

There will be a limited number of participants, please let us know if and when you come by sending an email to sanwoman@icloud.com.

Please be on time, the door downstairs is locked and will open only once at 20h30.

3AM – Filaments and Voids 4.6.2017 @ Flutgraben Berlin

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3AM | Filaments and Voids

Dear 3AM friends,

We cordially invite you to 3AM – Filaments and Voids.

Let’s celebrate together the amazing space at Flutgraben, welcome artistic attractions and distractions, enjoy sound and silence, get together and share an evening of performances, concerts, films, dancing, food and drinks.

When: 4 June 2017, starting at 19.00h
Location: Am Flutgraben 3, 12435 Berlin

with

Brendan Dougherty
Philipp Enders and Adaline Anobile
Charlie Fouchier
Lisa Hinterreithner
Daniella Kaufman and Karoline Strys
Christian Kesten and choir 
Moritz Majce + Sandra Man with Zoé Alibert, Katherine Gorsuch, Olivia Patrizia-Kunze, Sonia Noya, Fausta Scarangella, Sinja Völl
Nikolaus Neuser and Florian Juncker
Sonia Noya
Juliana Piquero, Maya Weinberg, Catalina Fernández, Manuela Schininá
Julia Reidy, Samuel Hall and Liz Kosack
Ilana Reynolds and Ira Hadžić
Daniel Salomon
Lisa Stertz

Entrance free.

ATTENTION! The (orange) door of the main entrance will be open only 5 times for 10 minutes every time: at 19.00, 20.00, 21.00, 22.00 and 23.00h.

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3AM | Warmup

IMPORTANT! For the first time we will also come together before a 3AM to warm up: The participating artists will share with you their thoughts on what they are going to try out at the 3AM event. This get together is itself a tryout in getting in the mood for 3AM.

When: 1 June 2017, starting at 20.00h 
Location: Public and Private Studio at Flutgraben, the door will open at 20.00h and 21.00h

3AM – Filaments and Voids is organised by Katharina Wallisch, Moritz Majce + Sandra Man.
Funded by Senat Department for Culture and Europe. 
Supported by Flutgraben e.V. and Public in Private Studio.

As you know, 3AM is an independent event with a focus on giving value to experimentation and local collaboration. Our frame stays purposefully open to allow for any new forms to emerge. We’d like to offer possibilities for artists to make tryouts that could be useful for their artistic works, therefore we’d like to create an environment that welcomes doing, viewing and experiencing art in its on going creative process.

More about the 3AM background and idea you can find here: http://3am.events

Many thanks to all the participating artists!

Looking forward to dancing with you!

Space Choreography and Language

Space Choreography is a certain relationship to writing, speaking and text. In contrast to theatre, the text is not the starting point of the work, but part of it; nevertheless, it claims an independent literary status. Speech or voice is material and movement, not play and role. In terms of content and form, the writing developed so far for Spatial Choreographies is a lyrical writing.

One of the reasons why we began to be interested in choreography was the search for a different way of artistic writing and dealing with language and text. That is, a way of writing that is primarily and from the beginning spatial and specific to the work in question; the writing thus continues throughout the development of the piece, the final text does not exist before the piece: it is in relation to all other elements and changes with them.

We think of speech and voice as ways of moving: as the interplay of breathing, muscles and cavities in a body and as pulsations between bodies.

The texts written so far for Space Choreographies are lyrical texts, because they are essentially determined by sound and rhythm. In terms of content they open up a world-space of organic and inorganic, animal, human and cosmic bodies in permanent transformation.

Beyond drama and post-drama, a Space Choreographic language practice enables writing for and speaking on stage, which does not work on questions of play, role and figure, but starts somewhere else: in and between body(ies), in space, in the relations and not in the subjects.

Narziss Echo (4)

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On Set, Charlie Fouchier

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On Set, White Space Box

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On Set, Charlie Fouchier

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On Set, Chiaroscuro

Choreography as Space Art

I

We see and make our works as choreographies, but understand choreography as spatial art. By this we mean that we do not start out from a dancing or moving subject, but that space, spatial references are in the foreground for us. In our practice we take seriously that existence is a moving, relative and relational being with each other. We work on relationships within a body, between bodies, between bodies and other things, e.g. technical devices or objects; we work on perception (hearing, seeing, feeling), moving/being moved, speaking, looking as ways and forces of opening and relating to each other.

“Choreography as Space Art” is less a definition than an open direction of a contemporary search and research. We are not the only ones who are choreographically interested in space and/as movement; many works in the grey area between the visual and performing arts do so and are currently changing both the view of what installation or sculpture means and of what a stage and an audience space is. In both art forms they go beyond the dominant dispositifs of (objects) exhibiting and (subjects) performing.

This transformation also includes reception. If choreography is understood and made as spatial art, the question arises, how can it be watched? If it is not a piece that is shown facing opposite the spectator, if it is not about what takes place in the (stage) space, but about dancing, moving, speaking, looking etc. as material and as the sensual materiality of the spatial references themselves, then this produces a different presence and way of watching than, for example, a theatre performance. The looking that belongs to a work made in this way, has more of the contemplative or meditative gaze usually practiced, for example, in the visual arts; it is more like a “watching with”, a certain kind of immersion, rather than looking at an opposite.

II

By space we mean relating, by relation we mean movement. That is why we call our works Space Choreographies. We try to see the relating-to as primary and work accordingly. We do not work with something – a text, a concept – that we stage or that we implement. We start with spaces as doing: In Fortress / Europa 28 people worked together, each with just as many wall elements and in months of rehearsals found movements between the static and the dynamic; from this finally a spatial rhythm emerged that was performed and included the visitors. In Narziss Echo we worked with the dancer Charlie Fouchier on the centre as self-reference and on looking as moving oneself and others; with the singer Christine Börsch-Supan we explored speaking and singing as being everywhere. Together, a pulsation of point and sphere, of seeing and hearing, of looking/being looked at and speaking/being addressed is created. In our series Choros we deal with the choir as a space, as a milieu of speaking-with, singing-with, listening-with, feeling-with, moving-with and watching-with, which is neither individual nor collective.

III

We are interested in the chorus in choreography and are concerned with the occidental history of the chorus, especially with that before the beginning of the theatre. Not much is known about the dancing, singing, speaking chorus on a square – choros is the ancient Greek name for the chorus as well as for its meeting place – and because it has not left many traces, it is a source of inspiration in its indeterminacy and alienness. In all our works, but explicitly in the ongoing series Choros, named after it, we explore what a chorus can be, a chorus that exists solely for itself, that has no protagonists and is not inserted into a theatrical plot.

In doing so, we neither presuppose a specific chorus, differentiated according to its form of expression – singing, speaking, movement chorus – nor do we ask about the who? of the chorus. Nor do we try to make the tension between individual and collective the theme of the chorus, instead for us “choral” means working in the fluid in-between of the participants (and this also includes the visitors). This means to understand talking, singing, walking with each other as relating to each other and to work on these sensual-material relations in such a way that they are not used for something else (communication, skills), but are primarily and explicitly perceived as such (experienced as exhibited/exposed). What makes a chorus for us is that and how the participants perceive each other by listening and looking at each other, talking, singing, moving, and making themselves permeable to the sounds, rhythms, forces, etc. that arise between them. Mouths, eyes, ears are openings for each other.

IV

Globalisation as transformation through technology is a matter of the world as space and no longer of progressing time and thus of history along with its subject. In philosophy, art and physics, for quite some time space has been called relativity and relationality. In a space understood in this way there is no centre; the relations are primary. When dance and choreography are working on space at this very moment and thus find inspiration for new forms, intensities and forces, they are decentering the subject in their own way and searching for other escape routes. In the moving and being-moved human body that is at the centre of dance and choreography as such, questions of immediacy resonate in all intensity, which the body raises and rejects. If, however, it is not a matter of “overcoming” this human body in the name of a “post”, but rather of actually starting somewhere else by thinking of bodies as openings and the senses as a relating to one another that goes in all directions, then it is not by chance that dance and choreography is the field where this can take place. The visual arts, especially the history of sculpture, are often a source of inspiration because in them the relationship between figure and space (perception) becomes an explicit theme, at the latest with Giacometti and later from Minimal Art to the installation.

Choros

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Choros, Model View

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Choros, Model View

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Choros, Model View

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Choros, Model View

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Choros, Model View

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Choros, Model View

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Revolving Stage, first prototype with Canvas Chairs

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Choros, Model View

Space Choreography

We call our works Space Choreographies. By “space” we understand a flowing, dynamic field of forces, which differs from the idea of an existing container that first has to be filled with content. For us, “choreography” is the movement of space itself, all its elements and references.

Space Choreography is neither installation nor staging. It takes place in constellations, in the flow of a spatial event through living bodies, dancers and spectators, their movements, sounds, voices and through objects, images, videos. It is an interplay of different elements and qualities, the movements, pulsations and rhythms that pass through the participants and unfold between them.

In Space Choreography there is no one-sided frontal juxtaposition of stage and auditorium, but a flowing overall environment. The audience is part of an area, the Space Chorus its moment of motion. It is at the same time protagonist, place and action of a Space Choreography and brings forth both stage and auditorium. Depending on how it moves, it enables the path and position of the audience in the landscape it opens up. Like the old word chorós, the Space Chorus is not clearly assignable, meaning both the people involved and their place, the dance circle, something that is at the same time and between body and space. This makes it alien, inviting a kind of “double vision” or “double experience”. The Space Chorus transforms the status and the way of reception, visitors experience not only the What? but also the How? and Where? of their own reception.

Space Choreography is neither clearly performing nor visual art. It differs from a stage set in that it is not the frame in which an action takes place; it differs from the room installation in that it is not about exhibiting a room, but rather that the room performs, flows, acts – is happening. The spatial event is directed at nothing, makes no statement, is a physical experience of emergence in the here and now.

Space Choreography is artistic experience also in the sense of reception. In every Space Choreographic work, there are other ways of participating, watching, listening, each of which produces its own contexts. The audience is an essential part of the constellation, it is co-choreographed as part of a space-as-event.