works

GROUPIES

Eine Produktion von White Horse in Koproduktion mit dem Hebbel am Ufer Berlin und der Dampfzentrale Bern. Gefördert durch den Hauptstadtkulturfonds.

Photo: Andre Wunstorf

Glaube findet im Körper statt: ob Rosenkranzgebet und Bekreuzigung, rhythmisches Wippen vor der Klagemauer, genaue Abfolge des Salah-Gebets oder der balinesische Kecak-Tanz – weder eine Weltreligion noch exotische Schamanen- und Ritualtänze kommen ohne Bewegung aus. Abseits von Ideologie und religiösen Diskursen befragt das Performance-Kollektiv White Horse in ihrer dritten Produktion die Choreografie von Gebeten weltweit. Was ergibt sich aus einer rein körperlichen Praxis des Betens? Welche für uns noch ungeahnten Glaubensbekenntnisse lassen sich im Körper finden? Erzeugen die Handlungen ohne religiösen Bezug eine Gemeinschaft? Auf der Bühne werden die sieben Performer zu Groupies gemeinsamer Hingabe, springen in die Körper der Glaubensrichtungen und erzeugen ihr ganz eigenes Ritual.


Inszenierung:
 Julia Jadkowski, Lea Martini
Choreographie und Performance: Daniel Almgren-Recén, Dennis Deter, Xavier Fontaine, Julia Jadkowski, Chris Leuenberger, Lea Martini, Maria Mavridou.
Dramaturgische Mitarbeit: Frédéric Gies
Sound: Coordt Linke
Kostümbild: Marie Gerstenberger, Malena Modéer
Lichtdesign: Benjamin Schälike
Produktion: Björn Frers – björn & björn
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TRIP en masse

photo: Karel Zwaneveld

TRIP en masse is a murderous yet fascinating fight to the finish on the theme of fanaticism, mob violence and hysteria, a ‘bubble’ of the hardness of the here and now. White Horse’s conceptual working method and highly physical orientation bring new perspectives and insights to dancers and audience alike. TRIP en masse is a nominee for the ‘Zwaan’ award for ‘most impressive dance production’. The jury commented, ‘TRIP en masse is an overwhelming dance performance which is at once hypnotic, fascinating and terrifying.’ The piece was initially conceived of as a trio, but Krisztina de Châtel challenged the trio to choreograph an ‘en masse’ version of the piece for the dancers of Dansgroep Amsterdam.

www.dansgroepamsterdam.nl

Choreography: Chris Leuenberger, Lea Martini, Julia Jadkowski (White Horse)

Dance: Davide Cocchiara, Jozefien Debaillie, Corneliu Ganea, Kelly Hirina, Kiyan Khoshoie, Yuval Lev, Francesca Monti, Natasha Rodina, Ellen Houck, Federica Rizzo, Sasha Samion, Danilo Tesi

Sound: Coordt Linke

Costumes: Theresia Knevel

Light Design: Attila Nemeth

Production: Dansgroep Amsterdam


ROMANCE

659556366_aopWt-L

Take me to the magic of the moment

Through a hybrid forest of seemingly separate universes

In times of crisis

On the wind of change

Equipped with only fragments of identity and an everlasting lack of time –

Tell me

What to do with the irrepressable longing for a state of complete unification with the world – a desire for an all-encompassing love?

659556001_rKCCS-XL
pictures by Anna van Kooij

WhiteHorse-romanticportraitRomance goes beyond the concept of a prince on a white horse. It lures romantic adoration and indulgence in contemporary bodies. Itcelebrates the exceptional state of falling in love with all its side effects: butterflies, palpitations of the heart, slight nausea and luscious dizziness. Romance is a purely physical and unconditional love declaration to the audience.

To get into the mood for Romance, the spectator is welcome to an audio installation of hundreds of love declarations collected in the Locus Amönus.

‘Romantic love is such a cliché that it is already a cliché to say that love is a cliché.’

(Eva Illouz)

picture by Theresia Knevel
concept and performance: Julia Jadkowski, Lea Martini, Chris Leuenberger / dramaturgical support: David Weber-Krebs / costume and set design: Theresia Knevel / somatic love coach: Jordis Jakubczick / sound: Coordt Linke / lights: Attila Nemeth
Coproduced by Frascati Amsterdam, Dampfzentrale Bern, Hebbel am Ufer Berlin, FFT Düsseldorf, brut Vienna.
With Romance White Horse continues their research into extreme physical states, which they started with their debut performance Trip. Romance will premiere on September 26, 2009 at Frascati WG in Amsterdam.

___________________________________________________________________________________

Locus Amönus – a romantic installation

February 19 -22 2009: 100Grad Festival Berlin

February 25-28 2009: Something Raw Festival Amsterdam

April 21-23 2009: Springdance Utrecht

May 29-30 2009: Dampfzentrale Bern

June 30-July 3 2010: New Works New Worlds Festival Glasgow

The ‘Institute for Matters of the Heart’ invites people to contribute romantic voices as an act of political resistance in the face of the imminent crisis.

The Institute for Matters of the Heart

White Horse founded the ‘Institute for Matters of the Heart’ in order to prepare for the imminent crisis. The Institute has followed the latest developments in the social-economic field and came up with the hypothesis that matters of the heart are in danger of extinction.


The International Board for Crisis Management warns against unprecedented stress and irrational behaviour caused by heightened competition in the job market and a general feeling of loss and helplessness. People are advised to focus on their strengths, work harder, pimp their profile and increase their marketability.


The ‘Institute for Matters of the Heart’ propose an alternative solution:

It is our mission to protect our most intimate and tender emotions from being overrun and undermined by rising standards in professionalism and efficiency. In the face of financial and social insecurities it is crucial that we focus on the matters closest to our heart! By bringing public attention to our cause we hope to remind people of the fragile beauty of their innermost feelings.


This is a call for celebrating intimacy and sentimentality! An encouragement to listen carefully to our hearts! Let’s unite and face the harsh demands of the crisis by indulging in emotional attachments, melancholic daydreaming and irrational desires!


The Pilot Project

For our pilot project we collect voices speaking from the heart. Volunteers are asked to make a declaration of love in all its possible meanings: a declaration of love to oneself, to another person, a thing, a place or an idea. We collect passionate, delicate, romantic, jubilant and nostalgic voices to set a landmark of resistance against the threats of the crisis by paying tribute to matters of the heart.


The Procedure

The voices are registered and archived in order to disseminate them in future times when the crisis will have reached its peak.

For the recording the volunteer will be alone in a small closet (the locus amönus). Half a year later each volunteer’s declaration of love will be sent to him/her via email. The volunteers can give permission for their recorded love declaration to be sent to another volunteer who participated in the action. In return they will receive an anonymous love declaration from yet another random volunteer. Email addresses will only be used for this purpose and will be handled with care and discretion.

Volunteers can give us permission to add their love declaration to our big archive for matters of the heart where it will be processed and made public. In so doing the volunteer makes a generous contribution towards saving matters of the heart from extinction.


Representatives of the Institute for Matters of the Heart will be sitting at a desk in front of the locus amönus to answer questions in regards to the Institute’s mission and to discuss the Institute’s hypothesis with anyone interested and curious.___________________________________________________________________________________________

TRIP

DRAMA2008052-7988We didn’t have an opinion, yet wanted a revolution.

We cried ourselves empty of all pathos and laughed at the utopias we didn’t believe in.

We got high on hard work and blind faith. We were both victim and perpetrator.

We borrowed heroic bodies from the past to squeeze out their sweat, quench their blood-thirst and trace down meaning.

We found ourselves intoxicated by euphoria and banal spasms on an empty battlefield.

We were left without a cause to fight for.

We are ready to surrender – yet we don’t know to what.

Concept and performance: Julia Jadkowski, Lea Martini, Chris Leuenberger Outside eye: David Weber-Krebs Sound: Coordt Linke Lights: Jan Fedinger, Fabian Lehmann, Attila Nemeth Set design and costumes: Theresia Knevel
Produced by Freischwimmer Festival 2008. With the generous support of Gasthuis Theater, School for New Dance Development (SNDO) and Sophiensaele Berlin.

White Horse is a collective founded by Chris Leuenberger, Lea Martini and Julia Jadkowski. All three studied among other places at the School for New Dance Development (SNDO) and are currently working in Amsterdam, Berlin and Odessa.

“Trip” is their second collaboration after the name-giving duet “White Horse – an attempt at live therapy”.

White Horse is looking for the body’s resonance to the incoherence of our times.

TRIP

Kill deinen Schweinehund

Es lebe: DER TOTALE TRIP

Es beginnt mit dem Umdrehen von Himmelskörpern.

Wir stehlen große Gesten von Kampfesgeist und Pathos.

Wir leihen uns revolutionäre Körper aus der Vergangenheit und pressen ihren Schweiß aus auf Spurensuche nach Erinnerungen und Utopien.

Zwischen Euphorie und banalen Zuckungen verausgaben wir uns auf dem Schlachtfeld einer Revolution, auf deren Ideologie sich nicht berufen lässt.

Nach allen Tränen
heulen wir uns leer und lachen uns kaputt, gehen weit
bis Sinn verschwimmt, der Taumel aber bleibt.

Der Trip beginnt
am Ort danach
im Jetzt, in dem der Körper ohne Ziel aber voller Sehnsucht Fragen stellt.

Welche Form der Hingabe geben, wenn man nicht weiß wofür?

White Horse ist ein von Christoph Leuenberger, Lea Martini und Julia Jadkowski gegründetes Kollektiv, dem die Erforschung heiler und anderer Realitäten am Herzen liegt. Alle drei studierten unter anderem an der School for New Dance Development (SNDO) in Amsterdam.

Mit dem namengebenden Duett “White Horse – an attempt at live therapy” (Jurypreis 100 Grad Berlin), dem Versuch, Therapie auf der Bühne zu machen, begann ihre Zusammenarbeit. Sie verstehen sich als Laboratorium, in dem der Körper Resonanzort und fehlbarer Seismograph widersprüchlichen Zeitgeschehens wird.

Dankesliste – Thanks to

David Weber Krebs – für ehrlichen, engagierten und raumgebenen Einsatz

Coordt Linke – für Geduld, Leichtigkeit, viel Zeit selbst aus andern Kontinenten und einen großartigen Soundtrack

Theresia Knevel – for thinking about the visualisation of ideas and surprising us with it suddenly

Marcus Droß – für unermüdliche Unterstützung und Enthusiasmus und alles andere

Jan-Phillip Possmann – für die Anerkennung von Anfang an, konstruktive Kritik eingeschlossen

Daniel Almgren-Recen – for dedicated speeches and sharp eyes

Andre Wunstorf – für Fotosession in den Berliner Treppenhäusern

Jan Fedinger – für Propandaaugen und Lichtkonzepte

Anja Müller und Dennis Deter – für die liebevolle Unterstützung

Alma Söderberg– for the Swedish word rus

Diana Gadish – for reminding us on the essence of what we were doing

Claus-Michael Schlesinger – für aktive Unterstützung in Wien und immer

Markus Balkenhol – für deine Sichtweise

Kai Krüger – für’s mitfiebern und die Sorge um unsere körperliche Gesundheit

Rosi Emrich – für den Enthusiasmus und den klaren Blick

Maik Elshof – für’s Dabeisein und Herzlichkeit

Hooman Sharifi – for inspiration

Sergej Eisenstein – for basic material

Michael Haneke – für die Idee zum Innehalten

Fabian Lehman – für rotes und weißes Licht, mindestens 10 mal

Attila Nemeth – for liking our exhausting music and making it light

ITs Festival Amsterdam – for selecting Chris and bright costumes

Gasthuis team – for all facilities, trust and support

Freischwimmer team – für unermüdliche und gut gelaunte Unterstützung rundum

SNDO – for all we’ve learned and outstanding facilities

Rodrigo Sobarzo, Katrin Memmer – for great camera work

To all audiences – for bringing it to an ever surprising end

White Horse – an attempt at live therapy

horse002.jpgTherapy in the theater – Lea and Chris want to share their most private desires, fears, and obsessions with you. Intimate details of the performers’ personal lives as well as power games of the making process get lustily exposed in order to simulate a slightly twisted therapy session.Sources of inspiration were the booming blogger culture on the internet as well as excerpts from private email correspondence and personal diaries. The audience is invited to take a critical look at the therapeutic aspect of dance and performance. Performing is in itself a violent act of self-exposure.

concept: Chris Leuenberger performance: Lea Martini and Chris Leuenberger advice: Gonnie Heggen and Robert Steijn lights: Julia Jadkowski length: approximately 35 minutes
Produced by the School for New Dance Development (SNDO) Amsterdam.

Performance history:

Premiered in November 2006 at Danstheater AHK Amsterdam

Further performances: February 2007 100Grad Berlin Festival (winner of the jury-prize), April 2007 Sophiensaele Berlin, June 2007 Unithea Festival Frankfurt an der Oder, ITS Festival Amsterdam (winner of the ITS Choreography Award), February 2008 Heimspiel Festival Dampfzentrale Bern (CH)

Upcoming Performances: October 3, 4, 5 Melkweg Theater Amsterdam

White Horse – an attempt at live therapy

Konzept: Christoph Leuenberger Performance: Lea Martini und Christoph Leuenberger Dramaturgie: Robert Steijn und Gonnie Heggen Licht: Julia Jadkowski Dauer: ca. 35 Minuten

Therapie auf der Bühne – Lea und Chris gehen hemmungslos ihrem Bedürfnis nach, sich vor dem Publikum zu exponieren. Das Seelenleben sowie der Schaffensprozess der Darsteller werden blossgelegt und Machtverhältnisse lustvoll ausgebeutet, um eine pervers-skurrile Therapieseance zu simulieren.

“White Horse (an attempt at live therapy)” ist der Versuch, Therapie auf der Bühne zu machen – ein Seelenstriptease vor dem Publikum. Als Inspirationsquelle diente uns die boomende Blogger-Kultur sowie private email-Korrespondenz und Tagebucheinträge. Ausgehend von unseren intimsten Wünschen, Ängsten und Obsessionen soll das Therapeutische am Tanz und am Performen selbst in neues Licht gerückt werden. Das sich in Szene setzen auf der Bühne ist immer auch ein gewaltsamer Akt der Selbstentblössung. Daran fasziniert mich besonders die Gegenüberstellung des Persönlichen mit dem Formalen.

Christoph Leuenberger absolvierte in Kalifornien eine Schauspielschule bevor er sein Studium an der School for New Dance Development in Amsterdam begann. Ausgangspunkt seiner Arbeit ist meistens er selbst mit all seinen Fragen, Wünschen und Unzulänglichkeiten. Er befindet sich zur Zeit in Psychotherapie.

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