Three bodies. One field. The 100 best love songs.
They long for something to happen, for some explosion. They fight fiercely for love, for affection, for recognition. Startlingly athletic and dynamic, this trio is a battlefield. Limbs tangle like tentacles, as the dancers cling to and struggle with each other. But is it just a frenzy signifying nothing? The more they are together, the more they feel alone.
Tabea Martin (Switzerland – 1978) is a prolific choreographer and performer, based in Amsterdam as well as in Basel and Zürich, Switzerland. After studying Modern Theatre Dance at the Hogeschool voor de Kunsten and Choreography at the Rotterdamse Dansacademie in Holland, she began developing her work as a choreographer in which sociological questions occupy a central role. As such, she takes human behaviour within different contexts as the subject of her research. Tabea focuses more on the creative process than the actual end result: losing one’s way, confronting the unknown, leaping hurdles, dealing with the emotions that arise, or discovering the unexpected.
For her choreographic work, Tabea won the Wim Barry Prize in Holland and was nominated by the Dutch Dance Days for promising young choreographers. Duet for two dancers was also selected by Aerowaves and was awarded by (Re)connaissance in France.
Choreography Tabea Martin
Choreographic assistant Viola Perra
Dancers Stephanie Bayle, Carl Staaf, Luca Cacitti
Dramaturgy Youness Anzane
Light designer Minna Heikkilä
Light Dave Staring
Costume Mirjam Egli
Production and distribution Cecile Brissier / Kilim Production
Thanks Sebastian Nübling, Matthias Mooij, Rebecca Weingartner, Laura Pregger, Pol Bierhoff
Production Kilim Production
Coproduction Gymnase CDC / Roubaix – Kaserne Basel Partners Rotterdamse Schouwburg / Rotterdam – Theater aan het Vrijthof / Maastricht – Grand Theatre / Groningen – ADN / Neuchatel
With the support of Centre National de la Danse / Paris – Kanton Basel-Landschaft
Full of operatic melodrama, Conditions of being a mortal opens a window to the subconcious of four characters. It is a wildly physical work that explodes in a tangle of bodies and heightened emotions. Robust humour, splinters of sexuality, arias of impulsive gasps and full-blown shrieking arguments are rarely far away. Sensual, athletic movement abounds in a quartet that offers a colourful and raucous triumph over dull urban reality.
Adrienn Hód is a choreographer and teacher known for her radical approach to bodies, space, experimental music and the interrelation of these, including the audience. During her education she acquired a wide array of movement styles and theatrical approaches that allow her to focus her attention on her dancers and the deconstruction/reconstruction of their proper movements. Her works are based on improvisation and she concentrates on the human body taken out of its cultural context.
Her creations seek to delve into what is ‘really’ going on in her dancers and to connect that very thing with the audience, often filled with playfulness and self-reflecting humour. She likes staging her works in spaces with minimal stage design. As she puts it: “Minimalism to the core. To me, bodies and voices will fill any space. Pure nothingness pulls me in. The void carries the inspiration to which my soul responds.”
Three of her choreographies Basse danse (2012), Dawn (2014), and Conditions of Being a Mortal (2015), have been selected by Aerowaves. Hód has been awarded the Rudolf Laban Prize twice, with Basse danse in 2012 and Dawn in 2014.
Choreography Adrienn Hód
Performers Marcio Canabarro, Emese Cuhorka, Júlia Garai, Csaba Molnár
Music Franz Liszt Faust Symphony
Music consultant Zoltán Mizsei
Consultant Zsolt Sőrés
Dramaturgy Ármin Szabó-Székely
Suported by Ministry of Human Resource, National Cultural Fund, Budapest City IX. district, New Performing Arts Foundation, Workshop Foundation, SÍN Cultural Center, OFF Foundation (Hungry), and Zagreb Dance Company & Art Centre Svetvincenat (Croatia)
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