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Photo: Charles Erickson 1992


For the First Time in Two Decades, Full Production of the
Rarely Performed Work Will Tour Internationally in 2012-2013

The Philip Glass/Robert Wilson collaboration Einstein on the Beach, An Opera in Four Acts is widely recognized as one of the great creative achievements of the 20th century. An international breakthrough for two of America’s most celebrated artists, the production, in turn, radically and indelibly broadened what audiences might expect from opera, theater or performance art. John Rockwell, who reviewed the 1976 world premiere for The New York Times, has called Einstein on the Beach “timeless” and “an experience to cherish for a lifetime.” The production’s only two revivals to date, in 1984 and 1992, proved equally enthralling to audiences and critics. Although every performance of the work has attracted a sold-out audience, and the music has been recorded and released, few people have actually experienced Einstein live. New audiences and an entirely new generation will have the opportunity during a 2012-2013 international tour in which New York-based producer Pomegranate Arts will bring the work to major cities around the world.

Opéra et Orchestre National de Montpellier Languedoc-Roussillon is scheduled to present the world premiere of Einstein on the Beach at the Opera Berlioz Le Corum on March 17 and 18, 2012. From May 4—13, 2012, the Barbican will present the first-ever UK performances of the work in conjunction with the Cultural Olympiad and London 2012 Festival. The North American premiere at the June 2012 Luminato, Toronto Festival of Arts and Creativity represents the first North American presentation ever held outside of New York City. The Brooklyn Academy of Music (BAM) 2012 Next Wave Festival will once again be home to the New York premiere, having presented the 1984 and 1992 iterations. Having never before been presented on the West Coast, the production will run for two weeks in the fall of 2012 at Cal Performances on the University of California, Berkeley campus.

The tour is currently slated to conclude at Amsterdam’s De Nederlandse Opera/The Amsterdam Music Theatre in January 2013. Before the tour, in January 2012, the entire Einstein on the Beach company will be in residence at the University of Michigan, Ann Arbor, whose University Musical Society will host technical rehearsals and early previews.

Einstein on the Beach defies the rules of conventional opera. Instead of a traditional orchestral arrangement, Glass chose to compose the work for the synthesizers, woodwinds and voices of the Philip Glass Ensemble. Non-narrative in form, the work uses a series of powerful recurrent images shown in juxtaposition with abstract dance sequences created by American choreographer Lucinda Childs and constructed in the classical principle of theme and variation. The opera consists of four acts that are connected by a series of short scenes or “knee plays.” The performance lasts nearly five hours and has no traditional intermissions; instead, the audience is invited to wander in and out at liberty.

Originally produced by the Byrd Hoffman Foundation, Einstein on the Beach was first performed in 1976 at the Festival d’Avignon in France, followed by a European tour that summer culminating, in the fall of the same year, in a presentation at the Metropolitan Opera in New York.

Einstein on the Beach was the first collaboration between Glass and Wilson. For the new production, they are working with a number of their longtime collaborators, including Lucinda Childs, who will serve as choreographer, as she did in 1984 and 1992. All of these artists are now in their `70s; the production will be a cornerstone of Glass’s 75th birthday year. They are committed to passing on the work to a new generation, and so are recruiting younger artists for the creative team and cast.

Philip Glass shared his enthusiasm about the production: “For Bob and me, the 2012-13 revival of Einstein on the Beach will be a most significant event, since in all likelihood, this will be the last time that we will be together and able to work on the piece. For audiences, few of whom have experienced Einstein apart from audio recordings, this tour will be a chance finally to see this seminal work.

In this production, my composition will remain consistent with the 1976 original. The technology of theater staging and lighting has improved to such an extent that it will be interesting to see how Bob uses these innovations to realize his original vision.

Finally, without the tremendous commitment, stamina and ingenuity of Linda Brumbach’s Pomegranate Arts team, and the commissioning partners she has brought together to support this effort, this final revival would not be taking place at all. For them I am deeply grateful.”

Robert Wilson commented, “Philip and I have been always been surprised by the impact that the opera had and has. I am particularly excited about this revival, as we are planning to re-envision Einstein with a new generation of performers, some of whom were not even born when Einstein had its world premiere.

Aside from New York, Einstein on the Beach has never been seen in any of the cities currently on our tour, and I am hoping that other cities might still be added. I am very curious to see how, after nearly 40 years, it will be received by a 21st century audience.

I am very grateful to Linda Brumbach and my manager Jörn Weisbrodt for believing in this revival from the first moment and making this dream come true in the new millennium.”

Linda Brumbach, Director of Pomegranate Arts and the Executive Producer of the 2012-13 Einstein on the Beach, said, “Einstein on the Beach is one of the most important operas of our lifetime. It has achieved canonical, even mythic, status, and yet so few people have had the opportunity to see it. It is a gift to work with artists that have such a singular vision as Philip Glass, Robert Wilson and Lucinda Childs, especially on this monumental production. I'm grateful for the heroic, committed and adventurous international commissioning partners and for the generous support of the Byrd Hoffman Watermill Foundation, Chuck Close, Douglas Gordon, Frank Gehry and Robert Wilson.”

Produced by Pomegranate Arts, Inc., the 2012 production of Einstein on the Beach, An Opera in Four Acts was commissioned by BAM; the Barbican, London; Cal Performances University of California, Berkeley; Luminato, Toronto Festival of Arts and Creativity; De Nederlandse Opera/The Amsterdam Music Theatre; Opéra et Orchestre National de Montpellier Languedoc-Rousillon; and the University Musical Society of the University of Michigan.

About Philip Glass

Through his operas, his symphonies, his compositions for his own ensemble, and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg, Woody Allen to David Bowie, Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times.

The operas—including Satyagraha, Akhnaten, and The Voyage, among many others—play throughout the world’s leading houses, and rarely to an empty seat. Glass has written music for experimental theater and for Academy Award-winning motion pictures such as The Hours and Martin Scorcese’s Kundun, while Koyaanisqatsi, his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble, may be the most radical and influential mating of sound and vision since Fantasia. His associations, personal and professional, with leading rock, pop and international music artists date back to the 1960s, including the beginning of his collaborative relationship with artist Robert Wilson. Indeed, Glass is the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film and in popular music—simultaneously.

Glass was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Finding himself dissatisfied with much of what then passed for modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland, Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar. He returned to New York in 1967 and formed the Philip Glass Ensemble—seven musicians playing keyboards and a variety of woodwinds, amplified and fed through a mixer.

The new musical style that Glass was evolving was eventually dubbed “minimalism.” Glass himself never liked the term and preferred to speak of himself as a composer of “music with repetitive structures.” Much of his early work was based on the extended reiteration of brief, elegant melodic fragments that wove in and out of an aural tapestry. Or, to put it another way, it immersed a listener in a sort of sonic weather that twists, turns, surrounds, develops.

There has been nothing “minimalist” about his output. In the past 25 years, Glass has composed more than twenty operas, large and small; eight symphonies (with others already on the way); two piano concertos and concertos for violin, piano, timpani, and saxophone quartet and orchestra; soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morris’s documentary about former defense secretary Robert McNamara; string quartets; a growing body of work for solo piano and organ. He has collaborated with Paul Simon, Linda Ronstadt, Yo-Yo Ma, and Doris Lessing, among many others. He presents lectures, workshops, and solo piano performances around the world, and continues to appear regularly with the Philip Glass Ensemble.

About Robert Wilson

The New York Times has described Robert Wilson as “a towering figure in the world of experimental theater.” His works integrate a wide variety of artistic media, combining movement, dance, lighting, furniture design, sculpture, music and text into a unified whole. His images are aesthetically striking and emotionally charged, and his productions have earned the acclaim of audiences and critics worldwide. Wilson’s awards and honors include two Guggenheim Fellowship awards (’71 and ’80), the Rockefeller Foundation Fellowship award (’75), the nomination for the Pulitzer Prize in Drama (’86), the Golden Lion for sculpture from the Venice Biennale (’93), the Dorothy and Lillian Gish Prize for lifetime achievement (’96), the Premio Europa award from Taormina Arte (’97), election to the American Academy of Arts and Letters (’00), the National Design Award for lifetime achievement (’01), and Commandeur des arts et des letters (’02), the Medal for Arts and Sciences of the city of Hamburg (2009) and the Hein Heckroth-Prize for Set Design (2009).

A native of Waco, Texas, Wilson was educated at the University of Texas and arrived in New York in 1963 to attend Brooklyn’s Pratt Institute. Soon thereafter Wilson set to work with his Byrd Hoffman School of Byrds and together with this school developed his first signature works, including King of Spain (’69), Deafman Glance (’70), The Life and Times of Joseph Stalin (’73), and A Letter for Queen Victoria (’74). Regarded as a leader in Manhattan’s burgeoning avant-garde, Wilson turned his attention to large-scale opera.

After Einstein on the Beach (`76) altered conventional notions of the moribund form of opera, Wilson worked increasingly with European theaters and opera houses. In collaboration with internationally renowned writers and performers, Wilson created landmark original works that were featured regularly at the Festival d’Automne in Paris, the Schaubühne in Berlin, the Thalia Theater in Hamburg, and the Salzburg Festival. At the Schaubühne he created Death Destruction & Detroit (’79) and Death Destruction & Detroit II (’87); and at the Thalia he presented the groundbreaking musical works The Black Rider (’91) and Alice (’92). He has also applied his striking formal language to the operatic including Parsifal in Hamburg (’91) and Houston (’92), The Magic Flute (’91), Madame Butterfly (’93), Lohengrin at the Metropolitan Opera in New York (’98). Wilson recently completed an entirely new production, based on an epic poem from Indonesia, entitled I La Galigo, which toured extensively and appeared at the Lincoln Center Festival in the summer of 2005.

Wilson continues to direct revivals of his most celebrated productions, including The Black Rider in London, San Francisco, and Sydney, Australia, The Temptation of St. Anthony in New York and Barcelona, Erwartung in Berlin, Madama Butterfly at the Bolshoi Opera in Moscow, the LA Opera, Het Muziektheater in Amsterdam, and Wagner’s Ring cycle at Le Chatelet in Paris. For the Berliner Ensemble he created two highly acclaimed recent productions: Brecht’s Dreigroschenoper and Shakespeare’s Sonnets with music by Rufus Wainwright. Both productions received invitations to the Spoleto Festival and travel internationally. Wilson directs all Monteverdi Operas for the opera houses of La Scala in Milan and the Palais Garnier in Paris.

Wilson’s practice is firmly rooted in the fine arts, and his drawings, furniture designs, and installations have been shown in museums and galleries internationally. Extensive retrospectives have been presented at the Centre Georges Pompidou in Paris and the Boston Museum of Fine Arts. He has mounted installations at the Stedelijk Museum in Amsterdam, London’s Clink Street Vaults and the Guggenheim Museums in New York and Bilbao. His extraordinary tribute to Isamu Noguchi has been exhibited most recently at the Seattle Art Museum and his installation of the Guggenheim’s Giorgio Armani retrospective traveled to London, Rome and Tokyo. In 2007, Paula Cooper Gallery and Phillips de Pury & Co in New York held exhibitions of his most recent artistic venture, the VOOM Portraits, with subjects including Gao Xingjian, Winona Ryder, Mikhail Baryshnikov and Brad Pitt. The works have been shown at the Tribeca Film Festival (2006), the Montreal Film Festival (2008) and in galleries and museums in Los Angeles, Naples, Moscow, Singapore, Graz, Milan, Hamburg and will continue to tour internationally over the next years. His drawings, prints, videos and sculpture are held in private collections and museums throughout the world. He is represented by the Paula Cooper Gallery in New York City.

Each summer Wilson hosts students and professional artists from around the world at the International Summer Arts Program at the Watermill Center in eastern Long Island, an interdisciplinary performance laboratory. In July of 2006, the Watermill Center dedicated a brand new building on its grounds, including rehearsal spaces, dormitories and residences, and inaugurated a year-round programming schedule.

About Pomegranate Arts

Pomegranate Arts is an independent production company based in New York City dedicated to the development of international contemporary performing arts projects. Since its inception, Pomegranate Arts has conceived, produced, or represented projects by Philip Glass, Laurie Anderson, London’s Improbable Theatre, Sankai Juku, Dan Zanes, Goran Bregovic, Lucinda Childs and Virginia Rodrigues. Special projects include Dracula: The Music And Film with Philip Glass and the Kronos Quartet; Julian Crouch and Phelim McDermott’s Shockheaded Peter featuring the Tiger Lillies; Drama Desk Award winning Charlie Victor Romeo; Healing The Divide, A Concert for Peace and Reconciliation, including artists Anoushka Shankar and Tom Waits; Hal Willner’s Came So Far For Beauty, An Evening Of Leonard Cohen Songs; and the remounting of Lucinda Childs, Philip Glass and Sol LeWitt’s 1979 classic, DANCE.

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Anne Teresa De Keersmaeker official statement:

Like so many people, I was extremely surprised when I got a message through Facebook about the special appearance of my two choreographies – Rosas danst Rosas (1983) and Achterland (1990) in Beyoncé’s new videoclip Countdown. I was asked if I were now selling out Rosas into the commercial circuit…
When I saw the actual video, I was struck by the resemblance of Beyoncé’s clip not only with the movements from Rosas danst Rosas, but also with the costumes, the set and even the shots from the film by Thierry De Mey. Obviously, Beyoncé, or the video clip director Adria Petty, plundered many bits of the integral scenes in the film, which the videoclip made by Studio Brussel by juxtaposing Beyoncé‘s video and the Rosas danst Rosas film gives a taste of.

But this videoclip is far from showing all materials that Beyoncé took from Rosas in Countdown. There are many movements taken from Achterland, but it is less visible because of the difference in aesthetics.

People asked me if I’m angry or honored. Neither, on the one hand, I am glad that Rosas danst Rosas can perhaps reach a mass audience which such a dance performance could never achieve, despite its popurality in the dance world since 1980s. And, Beyoncé is not the worst copycat, she sings and dances very well, and she has a good taste! On the other hand, there are protocols and consequences to such actions, and I can’t imagine she and her team are not aware of it.

To conclude, this event didn’t make me angry, on the contrary, it made me think a few things.
Like, why does it take popular culture thirty years to recognize an experimental work of dance? A few months ago, I saw on Youtube a clip where schoolgirls in Flanders are dancing Rosas danst Rosas to the music of Like a Virgin by Madonna. And that was touching to see. But with global pop culture it is different, does this mean that thirty years is the time that it takes to recycle non-mainstream experimental performance?
And, what does it say about the work of Rosas danst Rosas? In the 1980s, this was seen as a statement of girl power, based on assuming a feminine stance on sexual expression. I was often asked then if it was feminist. Now that I see Beyoncé dancing it, I find it pleasant but I don’t see any edge to it. It’s seductive in an entertaining consumerist way.
Beyond resemblance there is also one funny coincidence. Everyone told me, she is dancing and she is four months pregnant. In 1996, when De Mey‘s film was made, I was also pregnant with my second child. So, today, I can only wish her the same joy that my daughter brought me.


Read more… The social networking platform and community


2.-dance-tech.TV: collaborative network and broadcasting (curated content)

3.-Media productions

4.-Curated series

5.-Collaborative projects and knowhow

6.- Support dance-tech projects



All projects are under the administration

and authorship of dance-tech Interactive LLC

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Spontaneous CompositionThe open meetings of Spontaneous Composition are thought as a space of dialogue, training and creation where the diversity and integration of languages are considered the founding premises of the project.The directors of the project will give technical and theorical elements around a specific point (from Qi Gong practise and Contact Improvisation), emphasising on developing a state of awareness, a gentle attitude to our body.Research, improvisation and composition will be centered on the body and its organic structure, which can provide us a source of possibilities that stimulates creative processes.Open to dance, music, visual arts ,literature, drama students with no or little experience, professional artists and all the possible combinations. Poets, painters, musicians and video artist are welcome.Composición Espontánea, 2do etapa:danza y artes plásticas:Primer encuentro "Kandinsky en los pies"Sábado 18 de Julio de 15 a 18 hs"De la misma manera que no existe en la música el sonido feo, ni en la pintura la disonancia externa y en ambas todo sonido o combinación de sonidos es bella (apta) cuando emerge de la necesidad interior, pronto se estimará en la danza el valor interno de cada movimiento y la belleza interior reemplazará a la exterior; los movimientos feos, que súbitamente parecen bellos, emirirán inmediatamente una inesperada fuerza vital. Allí comienza a ver la luz la danza del fututo."V. Kandinsky, Sobre lo espiritual en el arte (1910)

Sábado 18 de Julio de 15 a 18h.Boedo. C.A.B.A.Tienen un valor mínimo de $70 y hasta $140.- por encuentro por personaFor more information contact to:VirginiaVargas De Lucaía de Espacio Theater Dance CompanyIn facebook
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On-line video on dance-techTV



dance-techTV are several on-line video platforms where members can share, watch and interact with video content!



There are mainly three platforms:


It is the open video channel and all the content is uploaded directly by the members. Members may upload directly to the channel or embed videos uploaded in popular video sharing sites such as Vimeo, YouTube and others.

Viewers can find videos using the search box or sorting them by latest, top rated, popular and random.




This is a curated online collaborative video channel dedicated to interdisciplinary  and experimental explorations of the performance of movement. This channel allows worldwide 24/7 linear broadcasting of selected programs and streaming and Video On-demand. It has a library of more than a 100 hours of premium video content donated by the community.
All content in dance-techTV is provided by the authors as a collaboration, with educational, non commercial purposes.


This channel is ONLY for LIVE broadcasts and has a Playlist with captured past transmissions.
Dance-techTVLIVE serves the community with a collaborative online video channel.
It is managed by the same community of users.

If interested join to the dance-techTVlive co-producers group

dance-techTV and dance-techTVLIVE are powered by:





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Call for Applications for Residency
dance-techAIR@Lake Studios Berlin

January  2014
(1 month period)

1st dance-tech artist in residency in Berlin offers to international interdisciplinary movement and media artists the possibility to live and make art in a peaceful artist run working, living and performance space in Berlin, Germany.

The artists will enjoy the recently opened Lake Studios Berlin, a unique living and creative working space with fast connection into the exciting creative center of Berlin and with the advantage of the quiet and beauty of Mueggelsee lake and a forest at only 5 minute walk for depth concentration on research and creative process.

The resident artist will enjoy a private apartment and access to a dance space with sprung wooden floors. Lake Studios Berlin is primarily a working space for 8 diverse movement artists with the need to go deeper into their work and practice. It is an experience of collaborative living and creation, and the resident will have the opportunity of artistic exchange as well as access to inside information about the dance scene in Berlin.


  • The resident artist will have access to 100 hours of studio space per month, divided between the large and small Studios.
  • The residency includes three hours of remote online coaching with Marlon Barrios Solano.
  • There is a possibility to teach classes, workshops and / or organize a performance or work-in-progress showing at the end of the residency period.
  • The artists will be featured  and should blog about their process on for the months of the residency.
  • The artist also may decide to use dance-tech.tvLIVE channels to share the  process of exchange with the community.

NOTE: the selected artist brings his/her own equipment. The residency  does not provide any equipment. 

There is one projector available in the big space.




The selected artists will pay his/her transportation expenses and will pay 500 Euros per month.


Artists, scholars and practitioners can apply for the residency. Their practice and research should relate to the  topical themes (not exclusive):


New media and performance

Movement practices  and economy

Improvisation and real time systems

Screen-dance  and movement based installation

Choreographic scores and new media tools (generative tools)

Movement, somatics and technology

Mobile devices, locative media and choreography

Social media  and trans-local collaborations

Contemplative practices and movement

Application Process:

The applicants must be a dance-tech member where you write you bio  and profile.

Please send an email including:

1.-Your research goals

2.-What would you like to work on and if you would like to offer master classes, workshops, etc.

3.-Two samples of you work posted on your dance-tech account (urls)


Send it via email to Marlon Barrios Solano @ <>


write in the email subject: dance-tech Berlin


Deadline for application: November 25, 2013. We will let you know by December 3 about the decision.


Note: this residency is conceived as an independent collaboration between dance-tech and Lake Studios Berlin as a way to generate alternative and affordable spaces for independent artists and creative researchers.


Highlights of Berlin  (not officially related to the residency):

From January 4 - 14, there is a well known Berlin Dance Festival taking place in Sophiensaele called Tanztage. (

From  Wed 29 Jan - Sun 2 Feb 2014 the new media festival and conference Transmediale 2014 

From  January 24 – February 2, 2014 the fun electronic music festival CTM – Festival for Adventurous Music and Arts




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Dance-techTVLIVE serves the community with a collaborative online video channel.

It is managed by the same community of users.

If interested join to the dance-techTVlive co-producers group

This channel is ONLY for LIVE broadcasts and has Playlist with captured past transmissions.


Watch live streaming video from dancetechttvlive at




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Music has the unique ability to create an infinitely changing experience via pure abstractions of temporal and spatial relationships, most simply perceived as rhythm and timbre. True, we may live in a material world, but within our shared experience, the abstractions of time and space are not imprisoned by the clocks and Cartesian coordinates of modern science. For us, a day can pass like an hour, and an hour can seem like days. The tiniest of space we share with another person, even in the most fleeting touch, can mean more to us than all the stars in the sky. Though musical abstractions, we can share such experiences, but only when the instruments place no constraints on our expression.In the 1960s, musicians started experimenting with electronic sounds. Early artists such as Pink Floyd experimented with many different sounds before finding the rhythm and timbre that led to their great success. In the 1970s, bands such as King Crimson simulated orchestras with tape loops. Modern-day musical instruments have sadly declined into a stock set of widely accepted sound loops and analog synthesizer simulations. To make new and challenging acoustic experiences, artists need to reach outside conventional instrumentation.In the 1990s, a German company released an unusual software program called Generator, which enabled electronic musicians to put together musical instruments of their own design. The program provides a lego-like interface whereby blocks are hooked up between audio inputs and outputs. Because many of the blocks are like hardware components, the blocks are deliberately designed to look like integrated circuits. The unusual characteristic of Generator was that it could also produce sound in real time, while the electronic musician was still putting together the blocks. This was possible because it embedded several kinds of simulator, similar to those used in electronic engineering, but adapted to the needs of the electronic musician. The software was years ahead of its time. It was later purchased by Native Instruments and combined with other programs to make a very sophisticated design environment called Reaktor.A little after Generator emerged, a little-known group of software developers in California created some similar design environments called Max and MSP. These environments are modeled on later DSP simulation programs, rather than the early hardware simulation programs of Reaktor. The interface is more abstracted and extensible. It was never really limited to creating electronic music alone, but always provided a more open and extensible environment such that, for example, it could provide synchronized light shows and a software workbench for the integration of unique control has been kind enough to sponsor me as a columnist, and I will be describing some of my experiences with Max/Msp here in the next nine months.Mac, PC, and Version ChoicesMax/Msp was originally developed on the Macintosh platform. There was a day when that made a great amount of difference, More recently, platform convergence has made the choice between such platforms more based on taste rather than application requirements. Max/Msp has run on both PC and Macs since version 4. Those familiar with software migration know that the first generation of software which converges across hardware and OS platforms is frequently buggy and requires a number of revisions. The challenge often extends beyond the software architecture for the application, and a total source-code rewrite is required. For financial reasons, the transfer to the new code base is usually deferred (for example, until the software protection for the original version is cracked). The delay often results in some cross-company migration of members in the talented alpha team, who worked on the original software, and as a consequence, portions of the original functionality do not port to the new code base for some time.In the case of Max/Msp, the new code base of Max5 is much superior to Max4. It is more stable, plays better, and looks better. However some interfaces have taken some time to release. For example, the Software Development Kit (SDK) which permits integration of external devices was only released this month, after delays approaching a year. Also, the ability to make standalone VST instruments (which can embed inside music sequencer programs such as Sonar and Cubase) is not available in Max5 (Max can operate in a VST environment, but others must own Max5 to play the instruments).This last discovery was a little of a disappointment for me. The ability to compile, link, and make standalone applications was a big part of the reason I decided to migrate from Reaktor to Max. I have developed experimental instruments in Reaktor since 1998, but Native Instruments also sells many VST standalone instruments, and providing the ability of native compilation would mean its customers could compete with its own products. Therefore a movement to Max seemed inevitable, if I was to share my musical creations with others besides those who own the expensive application.A number of alternatives exist for VST integration. One developer suggested making the Graphical User Interface (GUI) in a compiled code, such as C, then connect to a standalone Max interface via the now-industry standard Rewire interface. However I prefer Cubase VST/32 5.0 over SX versions (because I think its mixer less muddy), and Cubase 5.0 can only support a limited number of Rewire audio connections (due to an older interface architecture).The less preferred alternative was to develop in the older Max4 application. After some time the idea occurred of creating the UI in Max4, the main app in Max5, and the two parts could communicate over the more recent OSC interface. One other developer said this was possible.I do not intend to develop VST instruments alone--I hope to work with others, and a number of different applications are underfoot--but I did not want to be limited, as I had been in Reaktor, of not being able to share standalone VST instruments. So, I started the installation of both Max4 and Max5.MAX/MSP InstallationInstalling Max/MSP (and Jitter) 5.0 was a snap. The software is fully functional for 30 days, after which registration is required for continued functionality, so one can install while waiting for authorization codes.It is possible to run Max4 and MAx5 at the same time. However, installing the older 4.0 version introduced some unforeseen problems. To provide better latency and higher bandwidth to the audio hardware, electronic musicians often implement an audio I/O protocol called ASIO. I had been trying a freeware ASIO driver which acted as an intermediary between native WDM drivers and the integrated motherboard sound hardware. The Max 4.0 installation had some problems with the freeware so I uninstalled it.Then almost every single software application stopped working. I checked for viruses. No viruses.It took a while to work out, but now I'm pretty sure the uninstallation caused a kickback in my XP3 license, because ASIO drivers are perceived as hardware by the XP OS. After a certain number of hardware changes, the Windows operating system validates the OS is genuine across the Internet, and this time, XP3 also reset the "system ID." This hadn't happened to me before. Many software applications use some sort of Hamming code or CRC check with the system ID as part of their authentication, including Creamware, Cubase, and Native Instruments software. And so as a consequence, I had to reinstall Scope 4.0, Reaktor 2, Reaktor 3, Reaktor 4, Reaktor 5, Cubase VSt/32 5.0, Cubase SX, Kontakt 2.0, Battery Studio Drumkit, and all my audio drivers.The reinstallation has to be in a certain order, and the older software took may slow reboots. So this all took a while, after which my initial enthusiasm was somewhat subdued. I had been warned about problems with Max 4 but I was overconfident, and frankly I had just forgotten how long it used to take to integrate audio applications. System integration used to be enormously time consuming. Again, I reiterate, Max 5 was a snap. Software is just much better than it used to be.Website mountingI hope to create some server-side audio applications, so I also created a Website:

Creating the website cheered me up after the problems with installing Max 4, and also allows me to share some of the prototypes I would like to transfer to standalone applications via Max/MSP. I am just uploading various audio samples and freeware instruments.But it is not just VST instruments on which I am working, as I will describe in the next column.
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MAX/MSP 4: Data Types

One of the big differences between Reaktor and Max/MSP is the way information for your own design is represented within the system.Numeric Data typesReaktor has two levels of design: primary and core. In the primary level, all numbers are stored and calculated as 32-bit floats. Some processors, such as the Celeron, do not have hardware floating-point acceleration, so mathematical calculations (especially division and transcendentals) can take up alot of CPU cycles. Reaktor also supports 64-bit numbers, integers, and some bitwise manipulations in the core.Max/MSP supports intermingling of integers and floats throughout the design.Numeric ArraysIn the primary level, Reaktor supports the storage of 2-D and polyphonic data arrays of 32-bit floats in table modules. The table modules also provide a range of display options. In the core level, Reaktor's built-in modules support 1-D arrays only, but they may be integer and 64-bit types as well as 32-bit floats.Max/MSP also has table objects, but their display is not as comprehensive as in Reaktor's primary-level table modules. Tables are also not passed as messages, they are for storage only.Jitter also supports arrays, glowingly described in the promotional materials, and at first I thought I could use Jitter for advanced DSP audio calculations. However while audio manipulation in Jitter could be possible with some significant effort, the Jitter arrays (called matrices) are really intended for displaying Quicktime pictures, videos, and animations. For audio, Jitter's main benefit is to display oscilloscope-style waveforms or color-coded temporal bars. Jitter is not natively intended to provide any array processing of audio data.Text StringsReaktor permits users to store strings in the module properties, so that ports and screen elements can be named for example. However it is not possible to manipulate strings with Reaktor modules.Max/MSP handles text strings just like numeric values. Strings are passed from the ports of one object to another just like numbers. There are a range of functions for changing text strings. This is one area where Max/MSP is really superior to Reaktor. Max/MSP can change text strings much like mathematical manipulation of numbers. This enables designs to change the text in drop-down list boxes for example, which is not possible in Reaktor.ListsAn additional data type in Max/MSP, lists, provides the ability to pass messages containing more than one value in an ordered array called a list. While this theoretically simplifies design, in practice it can be very difficult to debug as the values in the lists are difficult to observe. One notes that there are a number of college courses in Max/MSP and all of them spend quite a bit of time on lists, so obviously, they are not as simple to use as they may appear at first blush.On the other hand, lists can be very powerful if you do not overload the system with them (a fast list processing object in Max/MSP is called the 'Ouzi,' a type of submachine gun. There are strong warnings in the documentation that indiscriminate firing of the Ouzi object can hang your computer).Environment MessagesMax/MSP is also more powerful than Reaktor in that it can access and control environment control variables via messages. In Reaktor, environment properties are preset in the environment and cannot be changed unless a module is available to set them.Max/MSP interacts directly with the environment so it is possible to change internal characteristics, change menus, set alert boxes, and so on.BangsFinally, Max/MSP really beats Reaktor hands down on providing the Bang message. The 'bang' message is issued at startup for initialization, as well as to set and pass parametric values through the network. A 'BangBang' module is available to send 'bangs' at power-up and preset change.This is a vast improvement over Reaktor, which provides no systematic method to manage initialization events. I was very happy to discover the 'BangBang' object, after having spent many days struggling with event initialization order in Reaktor.But do You Really Care about Data Types?Now after presenting all the data types available in each system, there is the opposing question: should an artist really need to care about data types? Well, if you are intending to create something with Max/MSP, you really need to be able to manipulate data types just like in a software program. You can get away without understanding data types too much in Reaktor, but for Max/MSP, you have to understand data types at least to the level of basic programming. So the argument here is that you should regard being able to write software programs just like being able to mix paints: it is a necessary skill that the artist must master. As to which paints the artist chooses to mix, that is the fundament of being a successful artist.Do Data Types Really Work in GUI Environments?Historically, those who sell GUI environments that manipulate data types have often had a hard time persuading the rest of us that the GUI environments actually help. Messages of different types move invisibly on the wires between the objects, and the objects need to receive messages of the type they expect in order to respond properly (messages of incorrect types are usually ignored).This is an area where many state a scripted language program is much better, because one can directly observe and control the data types moving between objects. The graphical interface actually makes it much more difficult to find problems, because the type data and messages are hidden and obscured by the pretty graphical interface.So from this perspective, if you are looking for a simple graphical environment, Reaktor is better because it has less data types. At primary level, everything is forced to one data type which may be slower to process, but at least the likelihood of there being a programming error that is difficult to find is smaller too.However Reaktor's data types are more limited in power than Max/MSP, which also has interfaces to other programming environments. it does take some significant effort to set up these interfaces, but I hope to have it done and ready for a report very soon.
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Call for Applications for Residency  for FEBRUARY 2014
dance-techAIR@Lake Studios Berlin

February 1st to March 1st 2014

dance-tech artist in residency in Berlin offers to international interdisciplinary movement and media artists the possibility to live and make art in a peaceful artist run working, living and performance space in Berlin, Germany.

The artists will enjoy the recently opened Lake Studios Berlin, a unique living and creative working space with fast connection into the exciting creative center of Berlin and with the advantage of the quiet and beauty of Mueggelsee lake and a forest at only 5 minute walk for depth concentration on research and creative process.

The resident artist will enjoy a private apartment and access to a dance space with sprung wooden floors. Lake Studios Berlin is primarily a working space for 8 diverse movement artists with the need to go deeper into their work and practice. It is an experience of collaborative living and creation, and the resident will have the opportunity of artistic exchange as well as access to inside information about the dance scene in Berlin.



  • The resident artist will have access to 100 hours of studio space per month, divided between the large and small Studios.
  • There is a possibility to teach classes, workshops and / or organize a performance or work-in-progress showing at the end of the residency period.
  • The artists will be featured  and should blog about their process on for the months of the residency.
  • The artist also may decide to use dance-tech.tvLIVE channels to share the  process of exchange with the community.

NOTE: the selected artist brings his/her own equipment. The residency  does not provide any equipment. 

There is one projector available in the big space.




The selected artists will pay his/her transportation expenses, meals and will pay 500 Euros  for the Month.


Artists, scholars and practitioners can apply for the residency. Their practice and research should relate to the  topical themes (not exclusive):


Choreography and creation process

New media and performance

Movement practices  and economy

Improvisation and real time systems

Screen-dance  and movement based installation

Choreographic scores and new media tools (generative tools)

Movement, somatics and technology

Mobile devices, locative media and choreography

Social media  and trans-local collaborations

Contemplative practices and movement


Application Process:

The applicants must be a dance-tech member where you write you bio  and profile.

Please send an email including:

1.-Your research goals

2.-What would you like to work on and if you would like to offer master classes, workshops, etc.

3.-Two samples of you work posted on your dance-tech account (urls)


Send it via email to Marlon Barrios Solano to




write in the email subject: dance-tech Berlin FEBRUARY 2014



Deadline for application for February: December 5th, 2013.

We will let you know by December 15th about the decision.


Note: this residency is conceived as a sustainable collaboration between dance-tech and Lake Studios Berlin as a way to generate alternative and affordable spaces for independent artists and creative researchers.






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We will be broadcasting LIVE selected talks from an extraordinary gathering!

School of Arts and Department of Computing

Corporeal Computing

Live on dance tech tv

Monday September 2, Tuesday September 3, Wednesday September 4,  2013



From the program:

We are delighted to welcome all participants to the Corporeal Computing 
conference, co-hosted by the School of Arts and the Computing Department, 
University of Surrey.
Increasingly, human-computer systems involve the capture and interpreting of 
motion in high-level 3+D environments, for more embodied interfacing across a 
number of social and cultural settings. This digitized form of ‘physical thinking’ 
bears upon a number of emergent narratives and discourses relating to the 
performance and performativity of body-machine systems. This conference 
brings together computer scientists, cultural theorists, digital media artists 
and artists in the movement arts (dance, theatre and digital music), to discuss 
the use of motion responsive and motion-calculative systems in digital live 
We have put together an exciting programme of papers, demonstrations, 
forums, and performances, with world-leading practitioners and scholars. The 
event is a truly international gathering, with participants from over fifteen 

Nicolas Salazar Sutil, School of Arts, University of Surrey
Paul Krause, Department of Computing, University of Surrey



(UK Times)



Conference Schedule

Day 1

Monday September 2,

08.30 - 09.30 Registration and Coffee

09:30 - 09:40 Welcome: Phil Powrie (Dean, Faculty of Arts and Human Sciences)

09:40 -10:40 Keynote Presentation by Paul Kaiser (OpenEndedGroup)

10:40 - 11:40 Archaeologies of Digital Performance

Oskar Schlemmer’s programmatic gesture – Sally Jane Norman (University of Sussex)

CODA, a stereoscopic computer choreography after Stravinsky’s Rite of Spring— Martine Epoque and

Denis Poulin (LarTech, Canada)

11:40 -12:00 Coffee Break

12:00 -13:00 Corporealities and Materialities I Placing the body in virtual reality – Sita Popat

(University of Leeds)

Blended bodies and notions of materiality in live-digital dancing – Kerry Francksen (de Montfort


13:00 -14:00 Lunch

14:00 -15:00 Keynote Presentation by Mark Coniglio (Troika Ranch)

15:00 - 16:30 Tools and Technologies I

I-CARE-US – Fernando Nabais (YDreams, Lisbon)

The TKB project: creative technologies for the multimodal annotation of performance composition

and documentation – Stephan Jürgens (New University of Lisbon)

Kinect: organising movement between measuring, calculating and perceiving – Irina Kaldrack

(University of Basel)

16:30 – 16:45 Coffee Break

16:45 - 18:00 Round Table Discussion Mark Coniglio, Paul Kaiser, Kirk Woolford, Tom Calvert (with

Sita Popat)

18:00 - 19:30 BBQ Dinner (venue depending on weather, tbc)

19:30 - 21:00 Live Art Installations/ Performances

Electrode, by Daniel Ploeger (UK), Dance Studio

Moments in Place, by Kirk Woolford (UK/US), various locations

NEX, by Cia Proyecto Uno (Spain), Studio 3

After Ghostcatching, by OpenEndedGroup (Paul Kaiser, US), Studio 2

21:00 Reception


Day 2

Tuesday September 3

09:30 - 10:30 Keynote Presentation by Tom Calvert (Credo Interactive)

10:30 - 10:45 Coffee Break

10:45 - 11:40 Corporealities and Materialities II

Transgressing the sonified body – Daniel Ploeger (Brunel University)

Hacking the body – Camille Baker (Brunel University) and Kate Sicchio (University of Lancaster)

11:40 - 12:30 Gesture and Haptics

Conversation with phones – James Charlton (Auckland University of Technology)

Haptics and particles (demo) –Doros Polydorou (Cyprus University of Technology) and Tychonas

Michailides (Birmingham Conservatoire, Birmingham City University)

12:30 -13:30 Lunch

13:30 - 14:30 Keynote Presentation by Kirk Woolford

14:30 - 15:30 Data, Visualisation, Motion

Modulation in interactive video installation – Nic Sandiland (Middlesex University)

MoveEngine – movement values visualized – Henner Drewes (Folkwang University of the Arts,


15:30 - 15:45 Coffee Break

15:45 -16:30 Performance / Lecture Perfect Paul: on freedom of facial expression – Arthur Elsenaar

(Royal Academy of Art- Royal Conservatoire, Netherlands)

16:30 - 17:30 Forum 1 Cyborgs and Ghosts Laura Karreman (Ghent University, Belgium) and Seok Jin

Han (University of Surrey) present and chair

17:30 -19:00 BBQ Dinner (venue depending on weather, tbc)

19:00 - 21:00 Screendance session (Main Theatre)

Structured Light (Short) by Sebastian Melo (Chile)

CODA by Martine Epoque and Denis Poulin (Canada)


All day: After Ghostcatching, by OpenEndedGroup (Paul Kaiser, US), Studio 2

21:00 Reception


Day 3

Wednesday September 4,

08:30 - 10:30 Current Approaches in Digital Laban Studies

Panel 1 (8:30)

Intentional and behavioral movement in virtual worlds: A Laban Movement Analysis approach –

Leslie Bishko (Emily Carr University of Art + Design, Canada)

How to make human animation more alive - Viewing human animation through the lens of Laban

Movement Analysis – Sandra Hooghwinkel (Moving Technology, Netherlands)

Panel 2 (9:30)

Movement archaeologies: digging for meaning in new landscapes of movement data – Thecla

Schiphorst (Simon Fraser University), Karen Bradley and Karen Studd (Laban/Bartenieff Institute of

Movement Studies)

Can affective movement be quantified? A Laban-based approach – Sarah Jane Burton, (Sheridan

College, Canada) Ali-Akbar Samadani, Rob Gorbet, Dana Kulic (University of Waterloo, Canada)

10:30 - 10:50 Coffee Break

10:50 - 12:00 Corporealities And Materialities III

Exploring the capacity of embodied, spontaneous interfaces to support creativity – Michael Neff

(University of California-Davis)

Behavioural coding and segmentation: Signifying practice and value production in technology –

Wangi Lee (Centre for Cultural Studies, Goldsmiths College)

12:00 -13:00 Lunch

13:00 - 14:00 Forum 2: Digital Feminism Margaret Jean Westby (Concordia University, Canada) and

Legacy Russell (Goldsmiths College) present and chair

14:00 - 14:15 Coffee Break

14:15 - 15:15 Tools And Technologies II

Materialising Acts: Exploring movement data for digital interaction through the Sync application –

Lise Amy Hansen (The Oslo School of Architecture and Design, Norway)

Sensor based motion capture in balletic dance – Corinna Spieth-Hoelzl (Dance Institut, Munich)

16:00 -17:15 Performance (+ Q & A’s with artists):

REACH by Mindbeat 2, Dance Studio

17:15 Coffee



Broadcast enabled by in collaboration with Digital Computing Conference organized by Nicolas Salazar Sutil, School of Arts, University of Surrey and Paul Krause, Department of Computing, University of Surrey


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Raimund Hoghe is certainly one of the most intriguing dancer and choreographer in contemporary dance these days. I had an opportunity to interview him in May, during Queer Zagreb Festival, where his company performed ‘Boléro Variations’.Raimund Hoghe always pushes the boundaries of dance perception through profound and minimalist way of analyzing thingz. The public and dance experts from Ballettanz Magazine obviously recognized this by giving him The Dancer of the Year Award in male competition for the season 2008.

Raimund Hoghe, photos by Rosa Frank (c)

I really have to mark here that in female competition the same award was given to ex-ballerina Sylvie Guillem. They are both completely different in bodily physics and kinetics, but the result is actually the same. The result is strong and authentic.I already blogged about ‘Boléro Variations’ I saw back at Queer Festival, so I’m letting you to Mr. Raimund Hoghe and his ways of seeing thingz on the stage and in life…

Raimund Hoghe, photo by Rosa Frank (c)

While I was watching your performance ‘Bolero Variations’, I constantly thought about the line: tinny little thingz… You like to ‘dig’ through those hidden moments in our lives… exploring society and its reflection on your own inner landscape… What was the initial trigger that has brought you to this?RH: It’s different from each piece, but I don’t make pieces with big effects, for example. I’m not interested in virtuosity or how people can jump or do incredible things. I’m interested in simplicity, so very simple and the personality of dance. To share with audience the quality of dancers, and there are these very little things; and sometimes maybe you are wondering why it’s interesting?For some people, of course, it’s not interesting, but for many it’s interesting. Like for me, last time when I was here in Zagreb, three years ago in 2006 with ‘Swan Lake, 4 Acts ‘, there was a 3-year old child in the performance. And this child didn’t want to leave the performance in the break, because it was so interested. The child wanted to see the whole story. The mother wrote to me a letter and this child had very interesting comments. It was also a long piece. So, for some adults it’s very boring, for a 3-year child is different. It’s different for each person.

Lorenzo De Brabandere and Raimund Hoghe

Photo from Tanzgeschichten by Rosa Frank (c)

You have spent many years working with Pina Bausch … her pieces have a specific dramaturgy… and the set of dancers in your piece reminded me on some performances you did with Pina… having a strong female character on the stage… Ornella Balestra’s character reminded me on Mechtild Grossman…RH: Yeah, but it’s very different from Pina’s work now, because it’s much more entertain and light, not too long; all dancers are more or less young. So, I’m interested just in strong personality. And now, my works could be compared with early works by Pina, not with her works from today. Because she is working a lot with video now, and older pieces were used in films, too. I don’t use this kind of technology.And, the roads are different, like in Pina’s dance pieces women are women, and man are man. So, women have long hairs, very beautiful colourful dresses moving like women. Man wear white shirts with trousers, like this classical image of man and woman. I’m not really interested in this.

Ornella Balestra, photo by Rosa Frank (c)

People tend to stuck when they try to use canons of classical dramaturgy in contemporary dance… As dramaturge how do you make this distinction, because your field is dance dramaturgy? You are directly connected with the scene that coined the term Tanz theater…RH: For me, in dramaturgy you have to come from one point to the other and you have to know why. That’s something everybody has to find out. There is no recipe or so. For me it has to be clear how you come from one point to the other, and that you can repeat it easily… this outthinking. The dramaturgy has to be so clear, that you can just jump into the piece.We don’t have long rehearsals before performances. It’s just one day, but people do different things… Maybe one piece is for one night play and then you have one rehearsal. And it is possible, because for me, and also for dancers, the dramaturgy is very clear. You don’t have to think about it. In many dance pieces you see today, they have to sing or think a lot what is coming next. In my work you have to know why you are here.

Photo by Patrick Mounoud (c) taken from fipa

How would you describe your work with Pina Baush?RH: It was very interesting to work with her. People talk about her and her work in terms of personality and strong person. This is very personal related, but it could be said also for her art form. It was not that sort of work where you present only the feelings.Could you be so kind to describe a little bit your working process… from the beginning till the end…RH: I’m very inspired by music. So, this is the point, when I’m listening the music! I made a piece on Maria Callas, and she sang about all that: If you really listen to the music, the music tells you how to move. And this is what I’m also trying. Then this dramaturgy is coming together, I feel it. I just have to do ‘this next – this next – this next’…In this piece about Callas ‘36, Avenue Georges Mandel’, she wasn’t visible in the first performance. But I had a feeling I missed something and had to think why is this happening and then I put this motif in it as a scene or an aria or something.

Emmanuel Eggermont and Raimund Hoghe, photo by R. Frank (c)

How do your dancers react to these processes because they are all very physical, but seems like there is always a layer of trust?RH: Yeah, the trust. So, that everyone can be exactly what they are. For me, it’s also important that there is no competition between dancers. Everyone is so different, you can’t compare them, each has its own quality. For example Lorenzo (De Brabandere), who was also in ‘Swan Lake, 4 Acts’; and Emmanuel (Eggermont) have really big part in this piece. They cannot be compared. They have very different backgrounds, from education and so. This is important, that there is no competition.It’s interesting how they are bringing different experiences…RH: Yeah, different experiences … like Lorenzo, who wanted to become a football player, and he was underway to football player; and Emmanuel not at all. And Yutaka (Takei), the Japanese dancer – he did also martial arts and he have this background. Nabil (Yahia-Aissa) is a medical doctor and dancer. They all have this different backgrounds.

Charlotte Engelkes and Raimund Hoghe, photo by R. Frank (c)

Yeah, they enriched the performance…RH: Yeah! This is something you might feel when you’re in the audience – different personalities. And it’s important that they respect one another. This is also not so often on the stage.I got the impression that their bodies are not talking differently, not in a sense of different languages, but it’s something in their way of presentation, some thin line that makes them different…RH: Yes. I’m interested in which way they are different, and also to keep this diversity. This is one main point, you have this diversity – not one body, the ideal body.

Raimund Hoghe, photo by Rosa Frank (c)

One of your main drive is music, too. When did you discover this, or was it the sound itself that attracted you, or rhythm, or classic music…RH: …also popular music. It’s very simple. I grew up surrounded mostly by popular music.Which artists inspired you?RH: Oh, there are so many of them. So many movies… For example, Maria Callas inspires me, because she was so aware of the movement. She talked a lot about it. And also Japanese dance, Butoh dancers like Kazuo Ohno, Sankai Juku… I know them well, and this is something I’m very interesting in… I was also very interested in this concept of Bauhaus. This combination of fine arts, dance, theatre…

Raimund Hoghe, photo by Luca Giacomo Schulte (c)

I can relate your work with Butoh, because seems like you have similar aesthetic ground and this ‘less is more’ approach….RH: Yeah, less is more. I’m really into this, thinking about this very often. I’m into artists like Joseph Beuys, Christian Boltanski, Wolfgang Laib and his installations…I know you like Pasolini…RH: …and Pasolini, of course. So, there are many, many artists… from music and literature… I like German and Russian authors. I like a lot Anton Chekhov. But there are also some pieces by Maxim Gorki. In German literature I like Johann Gottfried von Herder, Heinrich von Kleist… Many, many artists…Mr. Hoghe, Thank You Very Much!(Originally published on blog Personal Cyber Botanica:
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dance-tech@ Interviews

                                      Go to interviews aggregated in

Go to interviews aggregated in

Subscribe to RSS form dance-tech@

dance-tech@ is a series of video interviews with a very dynamic documentary format focused on interdisciplinary explorations on the performance of motion and innovation.

With more than 200 video podcasts, they are considered the "knowledge backbone" of the network and have been produced by Marlon Barrios Solano and collaborators since October 2007 covering events and artistic works in more than 15 countries.

In February 2011 is formally established an international network of correspondents as an experiment on the use of  the new internet for a distributed collaborative sustainable system of media production.

The interviews are produced with internet native approaches and portable technologies becoming a model of sustainable collaborative journalism.


Partners can directly support the dance-tech@ Interviews

The dance-tech@ interviews are published in several on-line platforms such as:

BlipTV: to make it available for media portable media players
dance-techTV in You Tube: for the masses and search bots.
dance-techTV: as a part of the regular programs and play-list available on dance-techTV

Do a random search in the dance-tech@ interviews




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Overview on Dance on Camera

What is a dance film?

Purely speaking, a dance film is one in which dance and film/video are both integral to a work. This simple definition separates dance films from archival records of stage or site specific dance compositions. The makers of dance films consider the placement and movement of the camera, the lighting, the balance of foreground and background, and the composition within the framing of each shot in the overall choreography. A dance film can take many forms: documentary, dance designed for the camera (cine dance or screen dance), a screen adaptation of a stage work, animation, or kinetic abstraction.

The structure for a dance for the camera, otherwise known as a cine dance or screen dance, may be driven by a kinetic or visual design concept, poetry or narrative, imagery from reality or dreams, traditional or idiosyncratic musical forms. The intention may be to produce what cannot be conceived in a live performance or to stretch and condense a multi-media form.

The essential difference between an archival record of a stage work and what we are referring to as a dance film, a dance for the camera, is the involvement of the choreographer in a collaboration with a composer, cinematographer, editor, and a director. Alternatively, the choreographer may also assume all those roles him or herself.


Read ten simple tips to making a dance film.

Que es danza en cámara? 

Cualquier forma - documental, narrativo, animación, grabación de un espectáculo; danza en cámara es una integración de imagen y movimiento, una integración de la tradición de cine y las tradiciones de la danza. Danza en cámara puede mostrar - con mas facilidad que  un espectáculo vivo - sol y sombra, los dos lados de cualquier realidad, y los contextos de las ideas. Y por eso, lo mejor de la danza en cámara es que como la poesía, es una abstracción o una esencia,… como un buen vino.

The dominant principle behind directing a dance video is curiosity, fascination, investigating concepts, preparedness, and ultimately personal style. There is a deep sense of planning, motivated by structure, vocabulary, environment and trusting your intuition and instinct .” says the award-winning Belgian director Thierry de Mey

Choreography, however subtle, has been a deciding factor for the success of many a screen star - from the voluptuous face and body movements of Marilyn Monroe as directed by Jack Cole to the dead pan antics of Buster Keaton and Jacques Tati. You too might find that you perform best in the controlled environment of film.

Adapt a dance for the screen by asking yourself 

1) What could be revealed through the medium of film that is not readily apparent in my current dance? What creative opportunity is possible by adapting the dance for the screen? 

2) What is most important in my original dance? How can a film team be directed to make that clear? 

3) Do I want to add choreography, characters, or images not in the original dance? If so, what might they be? Where would they be introduced? 

4) What parts of the dance could be dropped to make the film compelling and only as long/short as is necessary to communicate my premise?

5) Should I possibly use a different score or create one for the film?

6) Should the camera be objective or subjective? If subjective, whose point of view would the camera represent?

7) What emotional or intellectual responses do I wish to elicit? Beyond the steps and dynamics, what ideas - or twists and turns - will give the film depth and layers provoking the viewer to want to see my film again and again. 

8) Where is the arch to the action? Knowing that will help you direct your camera crew. 

9) Where should I/could I shoot this? In a mix of places? Man-made, outdoor, or crafted to suit the piece? 

10) Do I want to use natural lighting? Soft or hard lighting? Subtle or stylized?

11) What is my orienting shot? What can I do to replace the darkening of the theatre and the rise of the curtain?

12) What is my signature movement, image, or style? How could I develop that to make it larger than life? 



Become a member of DFA 
to read Dance on Camera 
Journal regularly 

Articles from Dance on Camera Journals

"Cutting Rhythms" 
Excerpts from the second in a series of three articles by Co-Artistic Director of The Physical TV Company, Karen Pearlman printed in Dance on Camera Journal/Ezine

This series of three articles is adapted from Cutting Rhythms, my Doctorate of Creative Arts Thesis (University of Technology, Sydney).  Cutting Rhythms is about rhythm in film editing - what it is and how it is made.  It draws on my background as a dancer, choreographerand editor, and looks at editing as a form of choreography and in particular the process of shaping a film's rhythms as a choreographic process.  These excerpts, adapted from Cutting Rhythms for the DFA Journal, break editing rhythms down into three types: event rhythm, physical rhythm and emotional rhythm.  The article in the last issue was an introduction to this notion of three types of editing rhythms and a specific look at one type: 'event rhythm'.  In this issue 'physical rhythm' will be considered and the next article will be about 'emotional rhythm'.

In the late 1920's Soviet filmmaker and theorist Dziga Vertov made a strong case, both in theory and in practice, for film as a visual art form, not a narrative or literary art form, with editing being one of the strongest cinematic means of showing the truth of the movement of the world.  If one is concerned with physical rhythm, one is concerned, as Vertov proclaims, with “meaningful rhythmic visual order”, not as a means to something else but as a revelation in and of itself.  In Vertov's masterpiece Man with a Movie Camera (1929), and quite often in dancefilm, the physical rhythm is the defining rhythm of the film.

An editor working primarily with physical rhythm crafts the arcs of physical movement in a film.  Her choices about which shots to join, and how and when to join them, are choices of linking movements smoothly or colliding them abruptly (to paraphrase the age-old debate between Soviet montage theorists Pudovkin and Eisenstein).  The editor works along a spectrum between the absolutely seamless and the dynamic clash of movement size, shape, speed, energy or direction.  These choices shape cine phrases of movement, which, like dance phrases, carry the rise and fall of energy, and use the rate and concentration of movement as affective forces.This kind of cutting

Cutting 12 hours of rushes into twelve minutes of dance, in silence, here are the principles I used:  
1. Re-Choreographing  
This involves changing the choreography to create the feeling the choreography created.  Taking this liberty depends on how willing the director is to let you have a go at realizing his vision in different ways.  Fortunately, in this case, we agreed that it was the feeling of the dance that carried the meaning, not the steps themselves.  So, if the choreography of the actual movements had to change, once they were on the screen, in order to express the meanings built into the live dancing, so be it.  When I worked on Thursday's Fictionsas a picture editor I acted as a 'choreographic' editor by transposing the intentions (not the steps) of the choreographer's live composition to screen time, space and energy. When doing this I would sometimes imagine how the series of shots would constitute a wave-form pattern if their accents were charted on paper. Then, from this imaginary chart I would decide if the dynamic wave’s peak was too sharp or too shallow, too broad or too narrow, or otherwise distorting the flow of movement trajectories beyond a range which expressed the choreographer’s intentions.  I would then alter the actual sequence of steps, pauses or gestures accordingly to change the shape of the dynamic wave.  One of my most frequent methods of doing this was to redesign the movement phrases using shots that allowed one dancer to finish another’s move.  In this case, a movement impulse starts in one shot and then the next shot continues its trajectory phrasing.  This particular device extends individual movement arcs and returns the fullness of expressive energy that the screen sometimes strips from three-dimensional movement. 

2. Narrative translations
This method involves asking the question, “What is a particular, given, abstract movement communicating with its energy in emotional or narrative terms?”  I would literally ask myself, and the director, “Where are we now in the dance’s ‘story’ or structure?  Where have we come from?”  The answers would guide the direction I moved in – just as in narrative.  If we had come from frozen, through slow thawing breaths to short sharp outbursts of energy, where were we going now?  To the first celebratory unison.  Which in turn leads, as per the choreography, to getting wild and needing to pull the energy back in.  And so on.  Knowing the ‘story’ in movement quality/energy terms helped me know how long to stay with things, how quickly to build to or establish them, and where their development was leading.  When I say it ‘helped me know’ I don’t mean it told me the answers, I mean it was one way of asking questions that I could try cutting the answers to – theorizing possible solutions directly through the material. 

3. Dancing Edits
People sometimes complain about editing in films like Chicago (Rob Marshall, 2002) that the editing is too fast or there are too many close ups, so they can’t “see the choreography”.  This is an inappropriate view of dance film as an art form.  In dance film, it is not that you are missing the ‘dance’ by only seeing one dancer or one body part or by seeing a rapid hit-hit-hit–hit-hit of cuts.  This is a screen dance whose ultimate choreographic form is composed of the movement phrases, experiences and actions created with the cuts.  As dance professor Sondra Horton Fraleigh says about dance in her book Dance and the Lived Body, A Descriptive Aesthetics:

In dance, leaping and turning are actually single figures of movement, having specific shapes in time and space.  The dance work as a whole is a gestalt that emerges form the integration of single figures. This is no less true for a screen dance.  What you see is the dance, not a version of the dance all cut up.  

4. Singing the Rhythm
During the cutting process, movement trajectories shaped by cuts can ‘sound’ in the editor’s head.  This phenomenon draws on a kind of synesthesia that I think a lot of editors have.  As the editor Tom Haneke says in First Cut, Conversations with Film Editors, “I hear spaces.”  This may also be one reasons why editing is so often compared with music.  The movements ‘sound’ in editor’s heads (bodies) with their timing, pacing, and trajectory phrasing making a kind of ‘song’.  It is very hard to vocalize this song, and I’m not much of a singer.  So when I ‘sing’ I often mean just tuning my awareness to the song in my head.  I sing my cuts, too, not just the movements in a given shot, but the phrases that I make with edits, ‘listening’ to breath, intensities, tensions and releases of the flow of energy, time, space and movement to see if I’ve hit a false note.  It is not just because my background is in dance that I also ‘dance’ as I cut.  I have heard other editors speak of this phenomenon, too, wherein they notice their head, shoulders, eyebrows, blinks or breaths moving sympathetically with the movement phrases being cut together, tracking their rise and fall of energy and noting their punctuation points with a short sharp nod.  “Singing the Rhythm” means tuning one’s own physical rhythms to the rhythms being perceived in the filmed material, and is at work in every single rhythmic decision I make. 





"John Deere"
Short by Mitchell Rose

Drawing inspiration from the rich history of dance films which have been made since the early 1900s.

The inventor Thomas Edison used dancers in his studio in New Jersey in the 1890s to test his equipment. Ever since, inventors have worked with dancers to demonstrate their newfound effects. 

In the early 1900s, Georges Melies the French magician- turned photographer-turned filmmaker often incorporated dance in his brilliant shorts. In the vaudevillian style, Melies' structure had a clear beginning, middle, and end and his purpose was equally clear -to entertain you. The Russian puppeteer Alexander Shiraef, perhaps the first dancer-turned filmmaker, was playing in the same era with stop action photography, dissolves, and magic tricks with astonishing results. Charlie Chaplin and Buster Keaton had the double strength of being actor/director/writer/choreographers. Keaton thrilled you with his adventurous stunts while Chaplin appealed to your sense of pathos.After the technicians and magicians came the romantics. The dancer-turned-director Stanley Donen who worked with Gene Kelly and Fred Astaire honored the Hollywood formula for commercial success while exploring various ideas from Fred's dancing on the ceiling to Gene's dancing with his altar ego in a display window (COVER GIRL).Scholar Larry Billman claims that a large portion of dance films have the underlying theme of "dancing to win." The script is driven by the appealing notion that dancing well can single you out from the crowd. These films instill a sense of hope. While not setting out with this intention, Daivd LaChapelle's film 2005 RIZE honors Krumping and a neighborhood's way of dealing with their struggle, of allowing that struggle to define who they are. For a long stretch, a dance sequence in commercial films was synonymous with decoration, and sexual titillation. Yet sometimes, the tease is only a cover. Peal away the layers behind Busby Berkeley's extravaganzas with his cascading sets and sequined ladies and you’ll find a political message. Mussolini's films of synchronized swimmers have been compared to Berkeley's graphic spectaculars.Beyond the entertainment was a subliminal call for order and obedience to authority.The Italian filmmaker Federico Fellini honors the freedom of the individual, with a choreography of the streets that is joyfully chaotic.Maya Deren, daughter of a Russian psychiatrist who studied with Katherine Dunham in Haiti, is the one who moved beyond experimenting with machinery, plots, tricks and dance as decoration. Her shorts placed the body in landscapes in a magnetic way that few dance filmmakers have been able to top. Deren wanted to entrance her audience, to cast a spell upon them. She was fascinated by the voodoo culture of Haiti and a student of trance.
Over the last fifteen years, especially in Europe, dance video as a narrative form caught the producer's trust. But recently the narrative form seems to be fading with the emergence of the Revivalists. Around the world, filmmakers are creating something akin to mobile paintings, homage to landscape and bodies.
Within the history of dance on camera lies a long tradition of choreography created in the editing room. A recent example of this is NASCENT from the Czech born filmmaker Gina Czarnecki. NASCENT could be seen as graphic design, but it also plays on your powers of perception. Czarnecki writes, “I rework and re-work the images so that form and content are made in the process of constructing the imagery. It is laborious but gives a unique hand-made aesthetic- bringing in traditions of drawing and painting to the digital, time based medium.” 

The vaudevillians made us laugh, the romantics to sigh, Maya Deren and the few hypnotists of her ilk to make us dream. The dancer turned filmmaker turned dancer Yvonne Rainer made us question the logic of any single movement whether of the body or the camera. She broke down our expectations. Meredith Monk and Sergei Parajanov instill us with a sense of wonder. 

Action films, musicals, martial arts films have down to a science how to make the spine tingle with the movement in their films. With such amazing hits as HOUSE OF FLYING DAGGERS, which Owen Gleiberman from Entertainment Weekly called "an outrageously gorgeous spectacle of balletic aggression," what more inspiration could you need?



(an excerpt from Dance on Camera Journal)  
by Robert Johnson                      

Ballet films are a special treat for the fans of classic dance.These opera-house lurkers thrill to see the art that they love in the new, and glamorous light of the big screen.  Ballet aficionados also appreciate the mainstream recognition that a commercial film signifies, implying that the public at large can comprehend, and share their devotion.    Only a few such films have appeared over the years, but almost all have become classics.  

  “LA MORT DU CYGNE” (“BALLERINA.”)  explores the obsession to dance, and the fabled jealousy that has led rival ballerinas to put ground glass in each other’s toe shoes, and soap the stage before premieres. The heroine, Rose Souris, a young student at the Paris Opera school,dreams only of becoming a dancer, and idolizes the company’s star ballerina, whom sheadopts as her “godmother.”  When the intrusion of a glamorous, Russian artiste threatens her godmother’s career, the girl takes matters into her own hands.  A trap door on stage opens mysteriously beneath the foreign dancer, as she performs the ballet “La Mort du Cygne,” and she plunges downward with a shriek, knocking herself unconscious, and breaking her leg.           

The guilty child flees underground, running terrified through backstage corridors littered with scenery, where gargoyles leer at her in accusation.  Confined to her apartment, the recovering Russian ballerina lies stretched on an oriental divan, smoking a cigarette, andbrooding.  Shadows under her eyes bespeak Slavic suffering, and the pain of exile, and thesmoke curls up toward a Byzantine icon.  She dreams of dancing a la Isadora Duncan, butan infection completes the job begun by French xenophobia, and—fate worse thandeath--she can never dance again.                    Then the fun starts.       

To the child’s surprise, her beloved godmother gives up dancing to marry a wealthyadmirer, a frivolous betrayal of Rose Souris’s artistic principles.  It seems the child’sloyalties were misplaced.  Then the Russian dancer begins to teach at the Paris Operaschool, and the talented Rose Souris becomes her star pupil, even as the girl struggles withthe knowledge that she caused her teacher’s injury.                       

When the Russian gives Souris the leading role as Queen Bee in the “Ballet of the Bees,”jealousy begins to fester among the other children, and their gossipy ballet mothers.  Anenvious gnat reveals Souris’s criminality, but in the end her talent, and the pure love ofdancing that she shares with her Russian teacher save her from destruction.                        Dance triumphs.                                  

      # # #

An impression of Belgian director Clara Van Gool
by Kelly Hargraves

Telling a story with images rather than words is dance’s forte, but sometimes the reality of a dance’s setting remains an abstraction on stage.  Cinema is the art which allows our imaginations to travel to new locations—to view princesses in their castles; soldiers in their fields; drinkers in their pubs.  When a dance film can bring together the vibrant expressiveness of movement and the immediacy of a character’s milieu the stories have a greater magnitude.  Three recent films by Belgian filmmaker Clara Van Gool put dance in such dynamic locations.

With choreographer Angelika Oi, Van Gool opens up the ancient streets of Tuscany inBitings and Other Effects.  The tunnels and pubs of London become new stages for the choreographies of Jamie Watton in Exit and Lloyd Newson in Enter Achilles.

These three films directed by Van Gool are rich with cinematic atmosphere that brings about lustrous interpretations of the choreography. The 35-year-old filmmaker was trained at the Dutch Film and Television Academy.  While pursuing her studies, she decided to focus on making short films and films without words—so dance was a subject that attracted her.  Van Gool and her choreographer friends began to experiment. She discovered working with choreographers who have a strong sense of character and story development is best for her, saying she finds more formal, abstract work harder to film.  She’s made several films with Belgian choreographer Angelika Oi, including Bitings.  While working on this film, she met Watton, and together the two created Exit.  It was through Watton, a dancer in DV8, that Van Gool became involved in the making of the film version of DV8’s Enter Achilles.

Exit takes place in a pedestrian tunnel under the Thames River in London, which was built as a fall-out shelter during WWII.  Shot in black & white, Exit drips with the humidity and dampness of such a place.  Through improvisation, Watton and Van Gool created a series of contemporary characters who travel through this ominous passage—a young girl, a businessman, a mother and her son.  Curious relationships develop between these bodies in a trapped space.  The walls vibrate as they hurtle into each other, running through the puddles and falling on the cold paved path to briskly roll or lie down and nap.

The atmosphere in Bitings and Other Effects, shown this November at the New York Expo of Short Film and Video/Dance on Camera Night, greatly contrasts with that of Exit.  Rich colors and noisy street scenes give it a romantic, old-world feeling.  Elaborate costumes and tapestry frame the dancers in the large glorious rooms of an Italian mansion where the wide-open spaces heighten the sense of isolation of the dancers involved in private moments.  The story is based on the Tarantella, and the effects of a tarantula’s sting.  Following the initial bite, each victim is drawn to the center of the city.  Van Gool’s camera follows them as they spin toward a central spot.  With them, we travel through the old stone streets, over roof tops and across crowded plazas.

The film version of DV8’s stage production of Enter Achilles, takes us inside a London pub, with its gleaming wood bar, beer taps and glasses.  The tensions are high as the group of virile young men flirt and threaten one another.  An ingenious choreography ensues with the dancers still holding their beer glasses while jumping each other or tumbling across the barroom floor.  Van Gool enhances the stunning choreography and the personality of these men by following their intense actions with a detached eye and then zooming in to show us their intentions.  Through the intimacy of film, she heightens the strong psychology of DV8’s dance.

By using conventional camera work, without special effects or filmic illusion, she creates a strong sense of narrative.  Happily, each film has its own distinct personality and atmosphere.  Van Gool seems to have a good sense of a choreographer’s needs and hasn’t interfered with the dance itself.  She attempts to keep segments whole with little editing.  Instead, she uses the worlds surrounding the dance—the colors, textures and sounds—to heighten the dance’s story and enhance the energy and dynamics of its movement.  Her strength is her strong craftsmanship as a filmmaker.  Deft editing, strong musicality and a range of camera angles give Van Gool’s films a sense of reality that stage work often lacks.


Getting off the stage
by Daniel Conrad

Dance film is problematic because it is not an original genre but derives from the stage. Yet it is a mistake to merely record pure stage performances on film: you lose the spontaneity and immediacy of live performance without getting anything artistic in return. For drama, this was established early in film history when filmmakers were doing precisely that: filming pure theatrical performances on a stage. This quickly changed when Kuleshov, Pudovkin, and Eisenstein developed editing as a transformative mode of expression, and not mere punctuation.

Unlike theatre, dance is organized human movement. This makes the transition to film particularly difficult, since the conventional movement vocabulary of dance (particularly ballet) is designed for stage. E.g., the turnout of fifth position lets one leap sideways while facing the audience. There is little need for this in film, since the camera can move with the dancer. Stage-dance also lacks close-ups, aerial angles, and locations, because the stage only provides one angle. Film moves from angle to angle. Eisenstein might even say it moves from cut to cut, since the cuts are aesthetically active. At its best, cutting can create “surprising inevitability,” where audience expectations are paid off, handsomely, in ways that were completely unexpected but make perfect sense in retrospect.

However, if one responds by cutting stage-dance into shots and reassembling these into film, the unity of the choreography is destroyed. So the transition from stage to film has to start with filmic choreography, incorporating montage, angles, camera movement, and locations at the beginning of the process.

There are two basic solutions. The first solution is to completely re-choreograph a stage work, shot-by-shot for the camera. This can run into the same problems as adapting a novel for the screen, but it can work if the choreographer understands the medium. A beautiful example of this is Édouard Lock's film, Amelia, based on the stage work. Here the choreographer/director (Lock) makes truly filmic choreography.

This re-choreographing is partly a question of kinetics: film time runs more quickly than stage time. In film we cut out of each scene as soon as we can and into the next as late as we can. Space is different too: if you frame an abdomen in closeup, the thrust of muscles across the light requires choreographing individual muscles, ignoring the rest of the body. This change in scale changes the dynamics: a small movement, which on stage is subtle, can rush across the screen violently in a close-up. You may need to slow it down. And since the frame is horizontal, you may get better dynamics if you move horizontally rather than vertically.

The second - and I think stronger - solution is to compose a film de-novo, out of original dance phrases choreographed deliberately as fragments with sticky ends. The choreographer needs know how these fragments will be cut together; so, ideally, he/she should work closely, shot-by-shot, with the director. Each shot can then be choreographed with cutting in mind, using the frame instead of the stage. The choreography then keeps its integrity, while the film keeps its montage-logic.

Consider, for example, the unstageable, de novo opening scene of the film, West Side Story, choreographed for the camera by co-director Jerome Robbins. A spare shot of a lone young man moves to two men, then three, then larger groups, in loose counterpoint with finger pops on the upbeats. Eisenstein called this “rhythmic” cutting. Then, groups of Anglo or Puerto-Rican young men take turns confronting and chasing each other in a counterpoint he termed “dialectic” cutting. The stark graphic patterns change quickly. Instead of the 180 degree rule, there is a rupture of spatial and temporal continuity, allowing the movement to carry much more than the thin narrative. The result is a powerful visual essay on male bonding in situations where survival depends on loyalty and numbers.

Yet even working shot-by-shot, a common problem is the sense of missing some vital piece of choreography which is out of frame during the shot. In extreme cases, this destroys the choreography. This problem is common  in matching-action cutting, when trying to create the illusion of continuous action; and it is at its absolute worst when the director tries to cover a pre-existing stage dance with three cameras, as if it were a hockey game.

When choreographing shot-by-shot, this problem can be fixed in several ways: by keeping all the vital action within the frame at any point in time (Bob Fosse did this routinely), by deliberately using the off-screen space to create ambiguity, by eliminating the sense of continuous action and substituting strong rhythmic bridges between shots (as in the above scene from West Side Story), and by using non-matched “collision” cuts or pseudo-matching action cuts.

“Collision” cutting, Eisenstein's invention, involves cutting unmatched shots in ways that make them collide, e.g., by changing screen-direction. Screen direction derives from the static composition of the frame (as in the Mein Liebe Herr sequence of Fosse’s Cabaret), from movement of bodies through the frame (as in the Odessa Steps sequence of Eisenstein’s Battleship Potemkin), or from camera movement (as in Hilary Harris’s 9 Variations on a Dance Theme). When screen direction is repeated shot to shot, this creates momentum; sharp reversals in screen direction then create “collision.”

Pseudo-matching action cuts (often used in modern narrative films, such as Ron Mann’sThe Insider, but invented by Pudovkin) leap from one shot (or scene) to another across a kinetic bridge. They work like this: cut from (e.g.) the rising action of a moving leg in one shot to a moving arm, with similar kinetics and screen-position, in the next. We can even cut to another location this way; continuity is broken, but the kinetic bridge maintains the illusion of simultaneity.

When all these methods are used together, with music, strong graphics, and colour, you get what Eisenstein called “overtonal” montage, or, toward the end of his career, “ecstasy,” referring to the sensation of being flown out of the frame. The dance sequence from the end of Ivan the Terrible - Part II and the sequence that renders the eponymous ballet from The Red Shoes are good examples.

Concerning locations, one very powerful non-stage approach is to move the filming to a location which does not easily lend itself to dance. These locations are not just backdrops but dance partners, because the physical restrictions and freedoms they give the dancers determine the repertoire of available movement, which is different from stage movement. And the solutions the dancers and choreographers invent in response give each location a unique choreography with its own specific kinetic logic. A good location is, then, an elaborate piece of gymnastic equipment which prevents you from using all those moves with French names but frees you to do other things in compensation. Examples of good location work abound, including Lloyd Newson's recent The Cost of Living (with DV8), and John Comisky's Hit and Run.

Some of the virtues of location work can be simulated in a studio. E.g., Fred Astaire’s “Stiff Upper Lip” sequence in Damsel in Distress, which takes place in a simulated amusement park, is full of gymnastic movement invented to fit the physical demands of the set. Interestingly, this is one of the few dance sequences in Astaire’s filmography which employs quick collision cuts and violations of the 180 degree rule. He normally preferred long, full-figure shots, in strict continuity; and many of his dances comprise a single long take.

Other unstageable methods involve manipulating the camera with speed changes or superimposition. The classic superimposition film is Norman McLaren's exquisite Pas de Deux, where he used the optical printer to superimpose many identical duplicates of a shot against itself. Each duplicate lags its neighbour by several frames, throwing the movement into a very tight, multi-voiced canon. Each dancer's limbs leave a trail of visual echoes, layering the movement. The dancers are back-lit against a black background, creating sharp outlines, emphasizing the pure, balanced lines of the choreography


When texture is more important than line, you can front-light the dancers and make superimpositions in-camera. In this method, the negative is exposed, then rewound in the camera and re-exposed to yield layers of images. This renders complex textures with a full range of midtones; so it differs substantially from optical printing. The texture of the surface of the skin can be a vital part of the composition, especially in side-light, and this method allows the rendition of elaborate textural rhythms as superimposed bodily surfaces melt or pulse across each other. Ideally, the layered images act in concert as the visual equivalents of the voices of a fugue: in canon, counterpoint, unison, and stretto.

Unlike optical printing, in-camera methods allow random associations. The results can be gloriously unpredictable, but we plan our shots anyway, hoping for rich mistakes. As Eisenhower said, after D-Day, "Plans are useless, but planning is essential." When shooting two layers, we previsualize both layers before shooting. The first layer is filmed along with a video-tap, and the exposed film rewound to a punch-mark. Temp music is synced to the video. We use the music to keep the layers in sync while filming, and dancers watch the first layer before performing the second. This allows complex systems. E.g., dancer Richard Siegal once emphasized the downbeat on the first pass and the upbeat on the second.

By superimposing, you can marry dancer over dancer, so that they can do a pas de deux (or even a pas de trois) with their own selves. Or you can marry dancers with a location, with textural potential. And you can do otherwise dangerous things. We have had dancers cavorting in the middle of the Hells Gate rapids, in sheets of fire, with a live, rented tiger, and with hordes of exuberant children.

Changing camera speeds is also interesting. In the Prague Metro, our dancers were working in moving subway cars and escalators. It would have been dangerous to dance at full speed, so we set the choreography to temp music, then cut the performance tempo in half, so the dancers were dancing at half-speed. Then we undercranked the camera to bring the action back up to the full speed of the choreography. This allowed the dancers to thread the needle and be safe while being intricate. The resulting kinetics were strangely lyrical.

We have discussed making dance filmic. Can we make film more choreographic? One option: give up narrative. Dance doesn't need narrative any more than music does; it has another way of constructing unity. Of course, dance includes storybook ballet, but then plot is not usually the point. And without plot or characters, film needs no real-world counterpart. It can also do without a message. Rather, it can convey new ways of looking at the world, of taking it apart and letting it re-associate. In modern dance, unlike most narrative film, this kind of abstraction is a common way of working. There is no need to lose it.

There are advantages to this. When you work with abstract movement, you are not imprisoned by a story-line or the requirements of a character, so texture, structure, rhythm, and point of view can be far more potent. And by organizing the body like this, you see it (and humanity) differently.

When you add strategic choices of angles, you can represent humanity as a borderless continuum at both large and small scales: from above, as if we were a single mass of organized protoplasm; or from up close, as if an individual body was just a colony of independent limbs. Both ways of looking filter out the individual to look at hidden human patterns - to reveal the human condition in ways that we usually can't see through narrative alone.

In conclusion, dance film can do things neither dance nor film can do alone if it frees itself from some conventions of its parents. Film provides ways of organizing the world with angles, camera movement, locations, and montage. Dance provides abstract ways of organizing the world with human movement.

Of course, however we organize our little worlds, both dance and film require artists with vision. Theorists usually avoid writing about this, because it's hard to write about; but ultimately, methodologies alone don’t justify a work of art. The poet and filmmaker Jean Cocteau was once asked by a journalist what he would choose to save if his house were on fire. He replied, "Le feu" (The fire).

© 2003, 2006, Daniel Conrad

Mast, G., 1982, Howard Hawks, Storyteller pp. 30-31, Oxford Univ. Press
Eisenstein, S., 1929, Methods of Montage, in Film Form, transl. Jay Leyda, Harcourt Brace
Eisenstein, S., 1929, A Dialectic Approach to Film Form, in Film Form, transl. Jay Leyda, Harcourt Brace Eisenstein, S., 1929, The Filmic Fourth Dimension, in Film Form, transl. Jay Leyda, Harcourt Brace New York Times, Apr. 23, 2001, p.B1

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La Ribot Distinguida

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For the past 10 years, the flame haired artist La Ribot has toured the world with performances that straddle the world of dance, visual arts and performance. La Ribot’s humorous and provocative performances
make use of the body’s endless expressive possibilities – political,
neutral, minimalist, simple, complex, sexual. In between performances at
the Tate Modern in London, La Ribot talks candidly about her working
methods and of her passion for dance and art. Peter’s film captures La
Ribot’s highly individualistic personality and is an intimate portrait
of one of the most vibrant and important artists of recent years.

Piezas Distinguidas shown:

  • 01 Oh! Compositione No. 22, 1997
  • 02 Outsized Baggage, No. 28, 2000
  • 03 Another Bloody Mary, No. 27, 2000
  • 04 Capricho Mio, No. 8, 1994
  • 05 Manuel de uso, No. 20, 1997
  • 06 No. 14, No. 14, 1996
  • 07 !Ya me gusteria a mi ser pez!, No. 6, 1993
  • 08 de la Mancha, No. 31, 2000
  • 09 Eufemia, No. 5, 1993
  • 10 Zurrutada, No. 32, 2000
  • 11 No. 26, No. 26, 1997
  • 12 Chair 2000, No. 29, 2000
  • 13 Narcisa, No. 16, 1996

Luc Peter

Born in 1963. 1986 Degree in Political Science from University of Geneva. 1989 Research into communication during political campaigns, University of Geneva. 1994 Diploma in directing from DAVI (Département
d'Audiovisuel de l'École Cantonale d'Art de Lausanne, Bussigny). 1991-98
Assistant director for various films, artistic director at the UNHCR
visitor centre in Geneva, producer of a video installation at the
Galeries Lafayettes and cameraman for German Swiss Broadcasting Service
(SF DRS). 1995 Founded the Belle Journée association for producing and
directing his own films. Since 2001 associated with Intermezzo Films SA.






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Choreography or ELSE presents:

While We Were Holding It Together


Ivana Müller

In While We Were Holding It Together, a tribute to the power of the imagination, Ivana Müller subjects notions of body and mind, and the relationship between the two, to a closer inspection. This results in a poetic, humoristic and philosophical production that draws the audience into Müller’s clear logic. While We Were Holding It Together creates images in becoming, always changing, depending on who is looking. Is it a rock band on tour? A picnic in the forest? A hotel room in Bangkok? We look, imagine and re-invent while searching for what is hidden and for what we want to see.

Created in 2006, the piece has been shown more than 70 times in festivals and venues in Europe, the United States and Asia. In 2007, While We Were Holding It Together won two prizes at Impulse Festival (DE). The jury of this internationally renowned festival awarded the performance with the first prize for the best off-theater production as well as the prize of the Goethe Institute.

The piece was also nominated for the 2007 VSCD mime-prize, which is the annual prize of the collaboration of Dutch theaters and concert halls for the best show of the year in the category of physical theater.

The piece exists in the original English version and, since November 2008, also in a French version.


Concept, direction: Ivana Müller

Performance: Katja Dreyer/Sarah van Lamsweerde/ Albane Aubry, Pere Faura/Ricardo Santana/ Arnaud Cabias, Karen Røise Kielland/ Hester van Hasselt/Anne Lenglet, Stefan Rokebrand/Jobst Schnibbe/ Geert Vaes/ Sébastien Chatelier, Jefta van Dinther/Bill Aitchison/ Julien Fallée – Ferré

Text : Ivana Müller, Bill Aitchison, Katja Dreyer, Pere Faura, Karen Røise Kielland, Stefan Rokebrand, Jefta Dinther.
Artistic advice : Bill Aitchison
Sound design : Steve Heather
Light design & technics : Martin Kaffarnik

While We Were Holding It Together is produced by LISA and I’M’COMPANY, in co-production with Sophiensaele Berlin (DE), Productiehuis Rotterdam / Rotterdamse Schouwburg (NL), Dubbelspel (30CC and STUK Kunstencentrum Leuven, BE).

This project is financially supported by the Nederlands Fonds voor de Podiumkunsten and the Mondriaan Stichting.



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About the Artist:


Ivana Müller is a choreographer, artist and author of texts. She grew up in Croatia but most of her life lived and worked as a foreigner.

Müller’s dance and theatre performances, installations, text works, video-lectures, audio pieces, guided tours and web works have been presented in venues and festivals such as Rotterdamse Schouwburg, STUK Leuven, brut Vienna, Frascati Theater Amsterdam, Kampnagel Hamburg, La Villette Paris, Wiener Festwochen, Theatertreffen Berlin, DTW New York, National Museum of Singapore, Saddler’s Wells London, Springdance Festival Utrecht, HAU Berlin, Centre nationale de danse Paris,  Kaaitheater Brussels (for a more extensive list of works and  venues please look at the page WORKS).

Some of the recurring subjects in Müller’s work are body and it’s representation, self-invention, place of imaginary and imagination, notion of authorship and the relationship between performer and spectator.

In 2007 Müller received the Charlotte Koehler Prize from the Prins Bernhard Funds (NL) for her œuvre, as well as Impulse Festival and Goethe Institute Prize for her piece While We Were Holding It Together.

Ivana Müller is one of the founding members of LISA (2004 – 2009), a collaborative production and discursive platform based in Amsterdam.

Ivana Müller lives in Paris and Amsterdam and works internationally.




Maaike Bleeker: Thinking Through Theatre
Published in Deleuze and Performance.
Edited by Laura Cull, Edinburgh University Press, 2009

Maaike Bleeker. “You Better Think!. Het denk-theater van Ivana Müller en Carly Wijsz/Ryszart Turbiasz” in:
Theater Topics 2: De Maker als onderzoeker.
Edited by Maaike Bleeker, Lucia van Heteren, Chiel Kattenbelt and Kees Vuyk. Amsterdam University Press,  2006

Jörg Huber/Gesa Zimer/Simon Zumsteg: Archipele des Imaginären
Institut für Theorie(ith) und Voldemeer AG, Zürich
Springer-Verlag Wien New York, 2009

Ramsay Burt: History, Memory, and the Virtual in Current European Dance Practice
Published in:  Dance Chronicle, Volume 32, Issue 3 September 2009 , pages 442 – 467

Working Titles – etcetera (in Dutch)

Working Titles -  der Standard

Working Titles – Trouw

Working Titles – Corpus

Working Titles – Volkskrant

Playing Ensemble Again And Again – Ballet-Tanz International

Playing Ensemble Again And Again – Volkskrant

While We Were Holding It Together - Theatercentraal

While We Were Holding It Together - Rotterdams Dagblad

While We Were Holding It Together - de Morgen

While We Were Holding It Together - radio Klara

While We Were Holding It Together - Inktpot

Jonas Rutgeerts: Onteigende beelden (in Flemish)

Under My Skin – De Standaard

Laura Karreman: ‘There Is More To This Place Than Meets The Eye

Under My Skin – De Tijd

How Heavy Are My Thoughts – De Morgen

Laura Karreman: Gewichtige Gedachten (in Dutch)

How Heavy Are My Thoughts – Volume

How Heavy Are My Thoughts – Vjesnik

Ivana Müller: Thoughts Spectacle

Ivana Müller: Letter to Bojana For The Conference On Future


interview for

interview Novi List



This piece is presented by courtesy of Ivana Muller and partially supported by 2011 partners:










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Read more… and are very glad to announce that
TANZPLAN DRESDEN offers three grants: course fees to the full amount for the duration of the Workshop for the International Summer Workshop
muse 010 at Palucca Schule Dresden from July 26th – August 6th, 2010 .

Each grant includes course fees to the full amount for the duration of the Workshop (all classes and workshops)
If you fulfill the following preconditions, please apply by July 15th, 2010:
1.-You have to be a or member (you will need to send the link to your profile page)
2.-You are at least 18 years old by the beginning of the Summer Workshop, 3.-Have completed at least two years of professional training in dance.
4.-International insurance: if you are selected and invited you must have an accident, medical and third party insurance for the duration of the Workshop.

NOTE: You must book the journey and accommodation on your own.

Application procedure:
1.-Send us via email to and include:

  • Please send us your CV in English (full address, birthday, age, nationality)
  • CV in English
  • 1 dance photo
  • Short letter of motivation (max. 400 words).
  • A link to your page in any of the networks.
  • It is recommended that you have video of your performance and/or choreographic work posted in the networks.

The grantees are asked to blog one a week about their experience in the workshop

Tanzplan Dresden and an selected jury will communicate the decision at latest by July 18th , 2010.

About Tanzplan Dresden
About MUSE 10


La organización Tanzplan Dresden ofrece tres becas a los miembros de y y están felices de anunciar que Tamzplan en Dresden, Alemania ofrece tres becas para los miembros que reúnan ciertas condiciones al programa de verano MUSE 10 a realizarse en la escuela Palucca por dos semanas desde el 26 de Julio al 26 de Agosto 2010.

Cada beca cubre en su totalidad la matricula por la duración de todo el taller y cursos.
Llena los siguientes requisitos y envía la aplicación hasta el 15 de Julio 2010:

1.-Ser miembro de y de Tendrás que enviar la dirección de tu página y perfil.
2.-Haber cumplido por lo menos 18 años para la fecha del comienzo del taller de verano.
3.-Tener por lo menos 2 años de entrenamiento profesional en danza.
4.-Seguro Internacional: en caso de ser seleccionado e invitado, debes tener seguro medico, de accidente por la duración del taller.

Los seleccionados tendrán que bloguear una vez a la semana sobre su experiencia en la escuela.

NOTA: el invitado seleccionado será responsable por sus gastos de transporte y gastos de estadía en Dresden.

Procedimiento de aplicación:
1.-Enviar un email a incluyendo:
CV en ingles (fecha de nacimiento, lugar de origen, edad)
1 foto en performance de danza
carta corta manifestando interés y motivación (400 palabras)
El enlace a tu pagina en cualquiera de las redes.
Se recomienda también incluir videos de tus performances o trabajos coreográficos subidos en las redes
Tanzplan Dresden y un jurado selecto comunicara la decisión el 18 de Julio de 2010

Lee sobre Tanzplan Dresden
Lee sobre MUSE 10

A organização do Tanzplan Dresden oferece três bolsas para os membros das redes sociais e de e estão felizes de anunciar que Tanzplan em Dresden, Alemanha oferece tres bolsas para os membros que atendam as especificidades para participarem do programa de verão Summer Workshop muse 010 , a realizar-se na escola Palucca, por duas semanas, entre os dias 26 de Julho a 26 de Agosto de 2010.

Cada bolsa de estudo cobre, a matrícula total para cada curso.
Se voce atende aos requisitos abaixo, envia sua inscrição até 15 de Julho de 2010:

1.-Ser membro de ou/e de Para comprovar, voce terá que enviar o endereço eletrônico de sua página nessas comunidades e perfil (nome de membro).
2.-Ser maior de 18 anos até o começo do curso de verão.
3.-Ter treinamento profissional em Dança há no mínimo 02 anos.
4.-Seguro Internacional: no caso de ser selecionado e convidado, deve ter seguro médico e de acidentes pessoais por toda duração do curso.

Os selecionados terão que bloggear una vez por semana sobre sua experiência na escola.

NOTA: o convidado selecionado será responsável por seus gastos com estadia e traslado em Dresden.

Procedimento de Inscrição:

Enviar um email a com os seguintes:
CV en inglês
1 foto sua de uma performance em Dança
Carta de interesse manifestando o que te motiva a participar do curso
Mandar o endereço eletrônico de sua página em alguma das duas redes sociais.
Se recomenda também incluir o endereço eletrônico de vídeos que estejam postados nessas redes sociais, com suas performances ou trabalhos coreográficos.
o Jurado do Tanzplan Dresden comunicará sua decisãoo em 18 de Julho de 2010

Leia sobre Tanzplan Dresden
Leia sobre MUSE 10




Read more…




6th InShadow - International Festival of Video, Performance and Technologies

December 2014

São Luiz Teatro Municipal, Teatro do Bairro and other venues, museums and galleries in Lisbon (Portugal)



a) Video Dance / the videos in competition run to 8 awards attributed by the Official Jury, Schools Jury, Vo'Arte Jury and Public. Entry form here.

b) Documentaries / the videos in competition run to an award attributed by the Documentary Jury. Entry form here.

c) Performance (solos) / Presented in alternative spaces in Lisbon. Entry form here.

d) Installations / Presented in alternative spaces in Lisbon. Entry form here.  


Read the regulations thoroughly here, fill in the online entry form for each genre at the SUBMISSIONS subtabs and send the film via wetransfer to (features: Quick Time, codec H264, in HD if possible) until 2GB (maximum capacity of wetransfer) or, alternatively, send the DVD and other elements as in the point B) of the regulations to:


InShadow – 6th International Festival of Video, Performance and Technologies

Rua S. Domingos à Lapa, nº 8N 1200-835 Lisboa, Portugal

E-mail (for questions related to the regulations and online entry form)

For file sharing please send to:

Tel: +351 21 393 24 10 or +351 91 404 04 71

Vo’Arte and InShadow Festival are on Facebook!

Like us!

We’re looking forward to receive your works!

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Digital Futures in Dance Symposia

Over the next two years, DanceDigital will be hosting a series of symposia exploring current trendsin Dance & Technology. The symposia will include contributions from eminent practitioners in thefield of dance and technology, dance artists and companies, venues and promoters.We will be exploring a variety of themes and provocations around the Dance & Technology theme.Our first symposium will be looking at the future of Dance & Technology,where it is going and what the future will hold. Contributors will include Kit Monkman (KMA),a Futurologist and a lecturer from a leading Arts and Technology University Course.There will be the opportunity to ask questions, discuss your own work and gain insight into thefuture possibilities and technologies for dance and the arts.To book your place on this FREE symposiumcall or email DanceDigital:»»call us: 01245 346036»»send a mail:»»or download a form from our website:
Read more…
DESPEDIDAS > ADIOS A PINA BAUSCH (1940 - 2009)Los pasos perdidosPor Pina Bausch

¿Hago teatro o hago danza? Una pregunta que no me planteo jamás. En todo caso la respuesta puede que esté en la definición de mi compañía: se denomina de teatro y danza. Las dos disciplinas van juntas. Yo lo que trato es de hablar de la vida, de las personas, de nosotros, de las cosas que se mueven...Mi suerte llegó cuando la Folkwang Schule se instaló en Essen, una ciudad a unos 30 kilómetros de mi casa. En 1955 entré a estudiar ballet con Kurt Joos, su director y uno de sus fundadores. El era un nombre esencial en la danza contemporánea; yo tenía quince años. Me fui empapando de todas las disciplinas: era una escuela peculiar que combinaba ópera, teatro, música, escultura, pintura, fotografía, pantomima, artes gráficas. Ese contacto con todas las artes me abrió los ojos y ha influido poderosamente en mi creación. Hasta hoy no concibo una danza divorciada del resto de las expresiones artísticas.Con Joos tuvimos una relación muy cercana, puedo decir que fue un poco como mi segundo padre y, durante un tiempo, hasta viví en su casa. También era su asistente, alguna vez dirigí sus ensayos, ordenaba sus agendas de trabajo. Una relación muy personal que ni siquiera recuerdo cómo se fue profundizando, pero que hizo de Kurt la influencia más fuerte en mi carrera: me marcó a fuego. Me enseñó que lo esencial es encontrar el propio camino. Yo quería –y quiero– solamente bailar.Por eso, nunca pensé en ser coreógrafa. La danza es mi única meta. Pero, a fines de los años ‘60, sentí que me sobraba tiempo. Me faltaba algo, no sabía qué. Entonces empecé a escribir con mi cuerpo. Me salían pequeños textos envolventes, profundos, otros divertidos o esperanzados. El humor ha sido importante en mi escritura. Escribía con mis brazos, con mi vientre, con mi espalda. Así salió Fragmento en 1968 y mi rol de Ifigenia. Pero el punto de partida fue siempre la danza. Lo hice por mí: yo era quien quería bailar. De a poco, algunos compañeros quisieron integrarse a mis invenciones, me pedían pasos, movimientos.Así, una de las experiencias más importantes de mi vida fue cuando me pidieron dirigir mi propia compañía, en 1973. Ponerme a la cabeza del Tanztheater Wuppertal Pina Bausch fueron palabras muy grandes. Hasta entonces, yo creaba en libertad y la rutina me aterraba. ¡No quería encerrarme en un teatro! Pero me insistieron tanto que acepté. A los 33 años tuve que enfrentar, por primera vez, a 26 bailarines. Me preparé mucho: anotaba todo. Nunca había escrito ballets largos, sólo trozos pequeños y éste era un tremendo desafío. Pasé el primer día temblando de miedo y de emoción. Me obligué a cerrar los ojos y a sentir. Entonces decidí que todos los comienzos partirían de mi ser como bailarina.Desde siempre, busco una forma de expresar lo que siento, y puede suceder que esa forma no tenga ninguna relación con lo que entendemos como danza. También ocurre que alguien al ver que los movimientos son simples, piense que no es danza, pero sí lo es para mí. En mis espectáculos hay mucha danza, incluso cuando los bailarines no se mueven. Una caricia también es danza.Observo cuanto puedo todos los ámbitos de la vida. Son ésas las únicas imágenes que permito que me influyan. Para mí, nuestra vida deber ser la gran exploración. Lo que determina mi proceso creativo son los hechos exteriores. Abrir los ojos para ver lo cotidiano de otra manera, mantener la ingenuidad de la mirada, para cuestionar lo banal, y descubrir secretos.Yo fui una gran tímida de niña. Y vivía con mucho susto, un sentimiento que aún conservo y que, en parte, ha sido mi motor. El miedo mueve. El miedo hace crear porque tú quieres inventarte un mundo donde tus ideas y tus sueños funcionen. Desde muy chica quise ser bailarina, nací en 1940 y Alemania estaba en plena Segunda Guerra Mundial, un tiempo de sacrificio. Como hablar me daba miedo, como nunca encontraba las palabras adecuadas, sentí que el movimiento era mi propio lenguaje. ¡Por fin me podía expresar! El movimiento me abrió las puertas hacia la vida. Vivíamos muchas carencias en mi familia y en el país, pero, a los cuatro o cinco años, alguien me llevó al ballet en Solingen. Todavía recuerdo ese escenario brillante, lleno de luces: entonces supe que bailar sería mi existencia.Me han preguntado a veces cómo es que, después de 40 o 50 años, aún no tengo todas las respuestas de la danza. Digo que no sé, que aún el proceso me intimida. Todavía me asusto como la primera vez. Nunca sé qué saldrá... todo lo que puedo prometer es que, de nuevo y siempre, voy a tratar. Siempre estoy tratando. Mi trabajo es totalmente naïve. Suena raro, pero es tal cual, algo simple que todos queremos compartir.He vivido historias de amor increíbles. Han sido capítulos de mi existencia que han marcado mi vida personal y me han dado mucha felicidad. Pero cuando me preguntan si he sido feliz, digo que lo que he sentido casi siempre son sentimientos encontrados: felicidad mezclada con preocupaciones. Pienso que a veces esa sensación tan fantástica queda guardada bajo el cotidiano. Como escondida.Estas palabras de Pina Bausch fueron tomadas de diversas entrevistas.
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