This Season 2019/20 we are working with four internationally acclaimed choreographers: 
Stephanie Thiersch, Hillel Kogan, Francesco Scavetta and Adrienn Hód.

Kritter
Stephanie Thiersch

Stephanie’s interest as a choreographer is always directed at the body in process of transformation and towards a confrontation of contexts. Her bodies are neither one nor the other. She attempts a balancing act between these contexts and wants the audience to take a stance in the spaces in between.

Stephanie’s choreography for BODHI PROJECT throws a view on the ambivalent relationship of humans and non-human with the natural world. Six bodies in constant transformation try to organize and reconfigure the relations with what is there. They explore strategies of „staying in trouble “(Donna Haraway) proposing more a making with, than an individual self-fulfilment.

Choreography: Stephanie Thiersch Campos Dancers: Csenger K. Szabó, Imola Kascó, Jeanne Laurent Caron, Márton Gláser, Noémie Anneg, Cindy Ng. Lights: Frank Lischka Production: blackmountain, Salzburg (AUT), SEAD, Salzburg (AUT) & BODHI PROJECT Duration: +/- 40 min Premiere: October 2nd, 2019, Theater im KunsQuartier Salzburg (AUT)

Dancer is the Answer
Hillel Kogan

“I am interested in the stories that bodies tell, and especially bodies of dancers. I am interested in exposing and deconstructing the conventions and the clichés of the dance and of art in general. For me, no matter which culture we belong to or identify ourselves with, the body is always a reflection of the social ideologies that have brained-washed us and that we have internalized. And this is most true as far as the body of the dancer is concerned. I believe that by learning how to move and how to develop dance skills, the dancer has become a moving evidence of the ideologies which he has possessed, and which have possessed him. How we walk, how we fall, how we sit, how we jump, how we stand, how we touch and how we hit – all these are evidences of ideologies that possessed us.

Is there really such thing as „freedom“ in movement? In which way our bodies are really „free“ and what do we mean when we say that dance is „free“? Don‘t we learn, as dancers, to fake „freedom“ so well, that it actually becomes an illusion?”

Direction & Choreography: Hillel Kogan Artistic Advisor: Sharon Zuckerman Weiser Dancers: Csenger K. Szabó, Imola Kascó, Jeanne Laurent Caron, Márton Gláser, Noémie Anneg, Cindy Ng. Production: blackmountain, Salzburg (AUT), SEAD, Salzburg (AUT) & BODHI PROJECT Duration: +/- 40 min Premiere: October 2nd 2019, Theater im KunstQuartier, Salzburg.

For all the other reasons
Francesco Scavetta

With For all the other reasons we aim to work on a dramaturgical polyphony that will combine and interplay physical and theatrical materials produced individually by the performers. We will work on individual solos that, later on, will be knitted together investigating the possibility to create intricate scenes that become an opportunity for epiphany.

Choosing the misplacement as a formal principle, the play between the ordinary, the surreal or the extraordinary will be the edge we are hoping for. The ideal mismatch between verbal statements, visual and physical actions, will generate gaps between the expectations created by the situations. The whole will resolve in images that can seem familiar, but are evasive, creating a sense of weird déjà vu.

Scavetta has developed a reputation on the international dance scene for his wildly inventive work, playful humour and subversive intelligence. His approach to movement and physical research has been widely appreciated and his work is at the forefront of the Nordic dance scene. In 1999, he established in Oslo the ensemble Wee, together with Gry Kipperberg.  With Wee, he has produced 22 performances, as well as several commissions for other companies and shorter works. Since its beginning, it has experienced an extensive international activity, touring in 37 countries -in Europe, the Middle East, Asia, North, Central and South America. 

Wee’s creations have changed in format and aesthetic, yet they have continuously explored what theatre and performance can mean in contemporary life and what kind of dialogues they can open with the audience. Scavetta’s theatricality has often been associated with the atmosphere of a weird dream or to a playful world of a child: strange, funny, poetic and, at the same time, surprising. The core of the company’s investigation deals with fragility and paradox, epiphany and dream, empathy and surprise, avoiding narrative and physical cliché, while questioning reality and identity with humoristic disbelief.

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Adrienn Hòd