ca. 100 min
This year is the 100th aniversary of “Le Sacre du Printemps,” the legendary choreography by Vaslav Nijinsky, set to music by Igor Stravinsky. To mark the occasion, the Centre for Movement Research at Freie Universität Berlin has organized an international and interdisciplinary conference, which will take place at RADIALSYSTEM V from 14 – 17 November. It reflects the outstanding role played by “Le Sacre du Printemps” in the emergence of modern dance and as a cultural-historical phenomenon. Following an “open call,” an expert jury selected ten projects that will now be performed at HAU Hebbel am Ufer. The proposals included a wide range of approaches – from addressing sociopolitical references to exploring specific qualities of the musical and choreographic material. The winning projects which are split up into two parts were chosen for their unflinching and serious approach to this canonical piece, their originality and their sharp perspectives.
Foto: Nightmares Fear Factory, Niagara Falls, Canada / www.nightmaresfearfactory.com
Fri 15.11.2013, 20:00 and Sun 17.11.2013, 17:00 / HAU2
Sacre 100 #1:
Sat 16.11.2013, 20:00 and Sun 17.11.2013, 20:00 / HAU2
Sacre 100 #2:
Jorge Rodolfo De Hoyos Jr. + Nir Vidan
& Kenji Ouellet / Anna-Luella Zahner
Fri 15.11.: 13:00, 13:30, 14:00, 14:30, 15.00, 15:30, 17:00, 17:30, 18:00, 18:30, 19:00, 19:30
Sat 16.11.: 13:00, 13.30, 14:00, 14.30, 15.00, 15.30, 17:00, 17:30, 18:00, 18:30, 19:00, 19:30
Sun 17.11.: 12:00, 12:30, 13:00, 13:30, 14:00, 15:00, 15:30, 16:00, 16:30
Each Session of Kenji Ouellet and Anna-Luella Zahner takes 30 minutes. Only 2 people can participate at a time. Therefore, a registration beforehand is necessary. To register call 030.25900427 or go directly to the box office at HAU2 (opening hours Mon–Sat 15:00–19:00). Participation is only possible in combination with a ticket for "Sacre 100".
Le sacre du printemps – a haptic rite
A non-visual, haptic choreography that is performed directly on the body of the visitor. Strongly related to, but not always rooted in Stravinsky’s music, the piece builds on a vocabulary developed in a row of previous performances for the touch sense. Some of the previous work explored cross-sensory sound/touch relationships. The visitors are blindfolded, not to establish a power relationship but in order to produce a concentration on other sense modalities. The guest is not moving actively, concentrating instead on his or her subjective bodily sensations and architecture. The haptic score offers both a compositional structure and immediate bodily experience (rather than kinaesthetic empathy.)
Choreography: Kenji Ouellet
Performance: Anna-Luella Zahner and Kenji Ouellet
Le Sacre du Printemps: L’Adoration de La Terre
Like a ritual without a material final product Marcela Giesche presents “L’Adoration de la Terre”. She works with material, handcraft and physical forces to create a cho- reogaphy of actions. It’s a neverending cycle of work and movement, devoted to an useless aim. At some point we should also ask ourselves: what do we sacrifice for the attainment of our visions, aesthetic, and ideals? And what is it that we worship and adore in this age?
Concept and Direction: Marcela Giesche
Performance: Paul Schulz
Light Design: Pablo Defontavila
Music: Le Sacre du Printemps, Igor Stravinsky
Thank you to: Josef Vorholt Revierfoerster at Mueggelsee for providing the Trees for the performances. And, Paul Schulz for his love and his dedication to this collaboration.
17.11.2013 only in Sacre 100 #2
In “Spring Cleaning”, Adam Linder works to dust-off the immediate cultural situation using choreographic labour.
Cleaning: Adam Linder
Sound: Adam Gunther
Igor - hush hush
In “Igor – hush hush” Melanie Lane is exploring the almost impossible arithmetic of Stravinsky‘s musical language. Studying part one of “Le Sacre du Printemps, L’Adoration de la Terre”, the poly-rhythmic score acts as the framework in which a choreographic interpretation is explored – in silence. Learning the unrelenting score is a ‘rite’ in itself in which a mind-body ceremony develops. The challenge is almost ‘un-human’ in it‘s outcome, producing a discipline that evokes a sense of survival, to survive the score itself – all while being performed within the irony of ‘dead silence’. This study is the consequence of an attempt to produce a musical illustration within a sonic vacuum.
Choreography: Melanie Lane
Performed by: Florian Bücking and Melanie Lane
Musical study from: 'The Rite of Spring' 1962 Columbia Symphony Orchestra recording - conducted by Stravinsky | Written score - 'The Rite of Spring', original score arranged for piano for four hands
Avalanche: A Kinaesthetic Re-Animation Ritual
by Tian Rotteveel, Michelle Rizzo
Avalanche is a resistance dance, where body forces and orchestral impacts play into each other. Tian Rotteveel is exploring the tension field between the natural and the composed, between the useful and the useless, between the historic and the futuristic. A constant reorientation, defying definition seeking a triumph over oppression and refrain of the present, the past, the artificial, the natural, the self and the other.
Concept: Tian Rotteveel
Performance and Choreography: Tian Rotteveel & Michelle Rizzo
Music: Tian Rotteveel
Special Thanks to: Jeanine Durning, Igor Dobricic, Agata Siniarska, Noha Ramadam
Co-Production: Hochschulbergreifendes Zentrum Tanz Berlin (HZT), Hebbel am Ufer (HAU Berlin), in the Frame of 100 years Sacre du Printemps.
OPFER/ The Sacrifice of Kareth Schaffer
At least 186 choreographers have attempted “Le Sacre du Printemps”, it may once have been synonymous with scandal; however, for many decades thereafter it constituted a badge of achievement for the ambitious choreographer. Why would a young choreographer do yet another version of Sacre? Sacre is no longer about innovation: it ensures that a pagan time, a circular time, is honored. Between market imperatives, personal desires, and a whole lot of historical baggage, the sacrifice must still be prepared. In OPFER/The Sacrifice of Kareth Schaffer, the Chosen One explains why there was never much choice involved.
Choreography/Performance: Kareth Schaffer
Costume: Stine Frandsen
Advice: Lee Meir, Julek Kreutzer, Martin Hansen
Le Sacre du Printemps, part II
The performer of “Le Sacre du Printemps, part II” collects material from several sources and de- cides which material he finds interesting and will develop further. The piece is a research of chaos and confusion, focusing on mechanisms of exclusion and inclusion, as well as the relation be- tween individual versus community. Sounds from other sources are intertwined with the original score of Stravinsky, arising imperceptibly, disappearing, appearing and temporarily taking over. The choreographic material explores aspects of rituals, madness and rhythm on and off stage.
Team: Jakob Höglund, Milla Koistinen, Lennart Laberenz, David Lipp
Supported by HAU Hebbel am Ufer, Finnland-Institut, ada Studio
The Work of Dance in the Age of Sacred Lives
In this collaboration between choreographer Netta Yerushalmy and philosopher David Kishik, the former dances while the latter delivers a paper. The movement clashes the sensibilities of primitivism with minimalism, as Yerushalmy cuts the specificities of Sacre’s original choreography and pastes them into this contemporary composition. Biopolitics, with its strong sacrificial undertones, its fixation on the body and bare life, stands at the center of Kishik’s essay. This is the context in which Nijinsky’s work achieves its paradigmatic role, on the threshold between classicism and modernism.
Choreographic concept and performance by Netta Yerushalmy
Essay by David Kishik
Essay reading by Daniel Colucciello Barber
Costume by Magdalena Jarkowiec
Le Sacre du Printemps, a ballet for a single body
Lea Moro is the core of the Ballet, she is the dancer, the ensemble, the old wise man, the witch and the bear. She is the only one dancing “Le Sacre du Printemps ”. As “L’adroation de la Terre” concentrates on social dynamics, rivalries between groups, Lea Moro dances a solo as an oppositional element, that is able to interrogate and play with the individual representation and the imaginary energy of the group. She ritualizes the space by embodying it all. How many bodies can the singular body represent?
Concept / Choreography / Performance: Lea Moro
Artistic Advisor: Alice Chauchat, Josep Caballero Garcia
Artistic Support: Désirée Meul, Maja Zimmermann, Anna Posch
Stage & Light: Hubert Scheppan
Special Thanks to: Silke Bake, Sophia New, Linda Sepp and Paul from afoltec Buchstabenkunst Berlin
Co-production: Hebbel am Ufer (HAU Berlin), Hochschulübergreifendes Zentrum Tanz (HZT) Berlin
Jorge Rodolfo De Hoyos
A parade of archetypes dances to the question: to kill or not to kill. On the altar of individualism, a tribal body sings along to the music. The contemporary staging wrestles with the question of killing and self-sacrifice in relationship to an idea of a greater good/higher purpose as they unfold from the actions and subjectivities of the one who is to be sacrificed, or the “Chosen One”. As a contemporary outcast, rebel, martyr, suicide bomber, saint, or psychopath, our “Chosen One” has already broken from the tribe or is wrestling with the choice to do so.
Choreography/Performance: Jorge Rodolfo De Hoyos
in collaboration with: Nir Vidan
Jorge de Hoyos would like to thank the following outside eyes and supporters:
Asaf Aharonson, Gretchen Blegen, Igor Koruga, Anna Lena Lehr, Vladimir Miller, Ponderosa- Movement & Discovery, Leyla Postalcioglu, Maria F. Scaroni, Andre Uerba, Julian Weber, Hochschulübergreifendes Zentrum Tanz (HZT) Berlin
Produktion: HAU Hebbel am Ufer. Gefördert durch die Kulturstiftung des Bundes. „Sacre 100“ findet statt im Rahmen von Tanz über Gräben. 100 Jahre "Le Sacre du Printemps" ist eine Veranstaltung der Kulturstiftung des Bundes und des Zentrums für Bewegungsforschung an der Freien Universität Berlin in Kooperation mit dem RADIALSYSTEM V und dem HAU Hebbel am Ufer.
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