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Doris Uhlich

Every Body Electric

25. jan. –26. jan. 2020

Store scene 25.01.2020 19:00

Store scene 26.01.2020 14:00

“Beautiful because it has not been beautified.” – Leipziger Volkszeitung on Every Body Electric.

“Had the invitation been there, the entire sold-out auditorium would have joined the floor to continue partying to the final track, Depeche Mode’s ‘People Are People’ (1984) until the end of the world.“ – Sean Burns, Frieze Magazine on Every Body Electric. 

“Every limit is overcome.” – La Biennale Di Venezia on Every Body Electric

Doris Uhlich setter standarden med årets sesongåpning på Store scene. Dansen er for alle, uansett kropp. 

Det finnes musikk som får oss til å bevege oss. Visse rytmer får oss instinktivt til å nikke eller danse med armene. Det er skrevet en norsk doktorgradsavhandling om akkurat dette. Om en helt konkret techno-rytme som kalles «poum tchak», et lydord som betegner skarptrommens «poum» og hi-hatens «tchak». Avhandlingen viser at kroppen vil ned på «poum» og opp på «tchak». Rytmen neglisjerer intellektet, fornuften og følelsene. Den spør ikke hvem du er, hvordan kroppen din ser ut, om du er stor eller liten, om du sitter i rullestol, har krykker, er lam eller mangler ett lem. Denne elektroniske musikken får hver kropp til å danse. Den får alle til å danse. 

 

  • Til denne forestillingen er det mulig å bestille rullestolplass gjennom vanlig billettbestilling via ticketmaster på nett. Ta ellers gjerne kontakt med oss på forhånd via telefon dersom du har behov for tilrettelegging, ekstra hjelp eller rullestolheis.
    Det kan være lurt å møte opp senest 45 minutter før forestillingen dersom du har med deg rullestol.

 

  • Danseverksted: Energetic Icons
    Med Every Body Electric-teamet
    Lørdag 25. januar, 16.00-16.40
    Lille Scene. Fri entré.
    Barn +8 og voksne
    Velkommen til et bevegelsesverksted med teamet bak forestillingen Every Body Electric.
    Klikk for mer informasjon.

 

  • Sesongåpningsfeiring: Presentasjon av vårprogram & DJ-sett med Boris Kopeinig
    Lørdag 25. januar, 20.00
    Foajé. Fri entré.
    Vi feirer åpning av en ny sesong med bl.a. DJ-sett med Boris Kopeinig fra Every Body Electric!
    Klikk for mer informasjon.

 

  • Ettersnakk
    Søndag 26. januar, 15.00, Foajé, etter forestillingen
     Ettersnakk med kunstnerne bak Every Body Electric.
    Klikk for mer informasjon.

Koreograf / Choreography: Doris Uhlich. Dramaturgi / Dramaturgy: Elisabeth Schack. Utøvere / Performance: Adil Embaby, Thomas Richter, Vera Rosner-Nógel. Lys, rom / Light, Space: Gerald Pappenberger. DJ: Boris Kopeinig. Kostyme / Costume: Zarah Brandl. Feedback: Yoshie Maruoka, Theresa Rauter. Produksjon / production: Margot Wehinger, Theresa Rauter. Internasjonal distribusjon / International distribution: Something Great. Co-produksjon / Co-production: Tanzquartier (Wien), Schauspiel (Leipzig), insert (Theaterverein).

Østerrikske Doris Uhlich er en av Europas mest markante koreografer akkurat nå. Gjennom sine arbeid utfordrer hun synet på utøverkroppen slik vi tradisjonelt møter den. Hun ble kåret til “Choreographer of the year” i magasinet Tanz 2018 og 2019, Ravemachine ble i 2016 tildelt Nestroy Special Award “for inclusion on an equal footing” og fikk publikumsprisen ved Our Stage Festival i Dresden 2019 for Every Body Electric. Dette arbeidet har vakt stor internasjonal oppmerksomhet og ble i 2019 vist ved kunstbiennalene både i Venezia og Sao Paulo.

You are known for working with performers with different and non-conventional bodies – why is it important for you?

I initiate works where non-conventional bodies are hopefully not anymore seen as non-conventional but unique.

I am an open minded person with empathy for humans in their uniqueness and difference – and not to forget that we share the planet with many non human life forms. 

You have talked about the body as an archeology of memories. Can you tell more about this?

A human being is a moving body archive, the body is a system of incorporation, a storage system, the skin not an impenetrable wall. I incorporate my biography into my body, and equally the biography of the world. The vibrations of the present time and its political, social, economic and cultural events inscribe themselves. The body is in the world, the world is in the body. We go through the infinitely complex choreography of our biographies, sometimes autonomous, sometimes directed by others. What interests me is how the present, the past and the future are connected by the body as a point of intersection. What defines the way we think, our body, its gestures? When I shake up my flesh, I shake up the archive, I activate my physical thinking.

How would you like your work to open up new ways of being together/new perspectives? 

The fluid relation between fragility and robustness is a fact every person, no matter which body he or she has, is dealing with. Every body has limits and if you are not afraid of touching them, facing them, limits can be inspiring places to expand one’s movement horizon.

What is beauty in dance? Every person has another sense of beauty, what he or she finds beautiful. I appreciate the beauty in the non-conform body, I discover beauty more in a moving body than in a posing body. A flesh in motion is beautiful when I am attracted by the energy, sensitivity, empathy and vitality in a body, no matter how the body looks like.

Performers who are dancing in and with wheelchairs e.g. have smaller expansions of movements. A small movement can be big in the sense that it has seismic potential to spread its specific energy in space. 

Mobility is not only connected to moving but also to thinking, reflecting. 

Inclusion begins in the way we think, in asking questions, in open communication, in direct contact. We often interpret the needs of people on the fringes of society, but this is an interpretation that leads to false assumptions and prompts false inclusion. Asking questions instead of interpreting. Inclusion begins when you try to understand what the life of a person with a different body feels like. And understanding begins by clearing up assumptions. Then inclusion can be a great movement. 

Not having a visible disability, I cannot understand what it feels like not to have legs or to have a wheelchair. I will never be able to say to someone with a disability: “I understand what it’s like for you.” But I can put myself physically in an empathic relationship with other bodies. I cannot change my physicality, but I can extend it by trying to comprehend a different physicality.