https://www.goodmove.be ELEANOR BAUER | GOOD MOVE Fri, 09 Aug 2019 08:05:33 +0000 https://www.goodmove.be en https://goodmove.be/NORA-THE-MANY https://goodmove.be/following/goodmove.be/NORA-THE-MANY Fri, 09 Aug 2019 08:05:33 +0000 ELEANOR BAUER | GOOD MOVE 13923991 <img src="https://payload.cargocollective.com/1/14/472667/13923991/fullsizeoutput_149d_670.jpeg" width="670" height="536" width_o="1800" height_o="1440" src_o="https://payload.cargocollective.com/1/14/472667/13923991/fullsizeoutput_149d_1800.jpeg" data-mid="75479749" border="0" align="left" data-title="670 — 670 × 536"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/fullsizeoutput_149d_1340_c.jpeg" caption=" Photo by Eleanor Bauer" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/fullsizeoutput_14a1_670.jpeg" width="670" height="536" width_o="1800" height_o="1440" src_o="https://payload.cargocollective.com/1/14/472667/13923991/fullsizeoutput_14a1_1800.jpeg" data-mid="75479750" border="0" align="left" data-title="670 — 670 × 536"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/fullsizeoutput_14a1_1340_c.jpeg" caption=" Photo by Eleanor Bauer" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/IMG_4937_670.JPG" width="670" height="502" width_o="4032" height_o="3024" src_o="https://payload.cargocollective.com/1/14/472667/13923991/IMG_4937_4032.JPG" data-mid="75479649" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/IMG_4937_1340_c.JPG" caption=" Photo by Eleanor Bauer" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_1939-1-Camilla-Greenwall_670.jpg" width="670" height="446" width_o="2500" height_o="1667" src_o="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_1939-1-Camilla-Greenwall_2500.jpg" data-mid="76896817" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_1939-1-Camilla-Greenwall_1340_c.jpg" caption=" Photo by Camilla Greenwall" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_6784-Camilla-Greenwall_670.jpg" width="670" height="447" width_o="2500" height_o="1669" src_o="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_6784-Camilla-Greenwall_2500.jpg" data-mid="76896818" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_6784-Camilla-Greenwall_1340_c.jpg" caption=" Photo by Camilla Greenwall" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_6927-Camilla-Greenwall_670.jpg" width="670" height="1003" width_o="1000" height_o="1498" src_o="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_6927-Camilla-Greenwall_1000.jpg" data-mid="76896820" border="0" align="left" data-title="670 — 670 × 1003"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_6927-Camilla-Greenwall_1000.jpg" caption=" Photo by Camilla Greenwall" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7011-Camilla-Greenwall_670.jpg" width="670" height="447" width_o="2500" height_o="1669" src_o="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7011-Camilla-Greenwall_2500.jpg" data-mid="76896821" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7011-Camilla-Greenwall_1340_c.jpg" caption=" Photo by Camilla Greenwall" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7128-Camilla-Greenwall_670.jpg" width="670" height="447" width_o="2500" height_o="1669" src_o="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7128-Camilla-Greenwall_2500.jpg" data-mid="76896822" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7128-Camilla-Greenwall_1340_c.jpg" caption=" Photo by Camilla Greenwall" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7224-Camilla-Greenwall_670.jpg" width="670" height="447" width_o="2500" height_o="1669" src_o="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7224-Camilla-Greenwall_2500.jpg" data-mid="76896823" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7224-Camilla-Greenwall_1340_c.jpg" caption=" Photo by Camilla Greenwall" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7329-Camilla-Greenwall_670.jpg" width="670" height="447" width_o="2500" height_o="1669" src_o="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7329-Camilla-Greenwall_2500.jpg" data-mid="76896824" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7329-Camilla-Greenwall_1340_c.jpg" caption=" Photo by Camilla Greenwall" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7330-Camilla-Greenwall_670.jpg" width="670" height="1003" width_o="1000" height_o="1498" src_o="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7330-Camilla-Greenwall_1000.jpg" data-mid="76896825" border="0" align="left" data-title="670 — 670 × 1003"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7330-Camilla-Greenwall_1000.jpg" caption=" Photo by Camilla Greenwall" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7466-Camilla-Greenwall_670.jpg" width="670" height="447" width_o="2500" height_o="1669" src_o="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7466-Camilla-Greenwall_2500.jpg" data-mid="76896826" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/NORA_ELEANOR_BAUER_7466-Camilla-Greenwall_1340_c.jpg" caption=" Photo by Camilla Greenwall" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-08-11-at-17.44.48_670.png" width="670" height="418" width_o="1500" height_o="938" src_o="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-08-11-at-17.44.48_1500.png" data-mid="76896827" border="0" align="left" data-title="670 — 670 × 418"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-08-11-at-17.44.48_1340_c.png" caption=" Process video still by Nora" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-08-11-at-17.46.15_670.png" width="670" height="418" width_o="1500" height_o="938" src_o="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-08-11-at-17.46.15_1500.png" data-mid="76896828" border="0" align="left" data-title="670 — 670 × 418"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-08-11-at-17.46.15_1340_c.png" caption=" Process video still by Nora" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-08-11-at-17.46.56_670.png" width="670" height="418" width_o="1500" height_o="938" src_o="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-08-11-at-17.46.56_1500.png" data-mid="76896830" border="0" align="left" data-title="670 — 670 × 418"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-08-11-at-17.46.56_1340_c.png" caption=" Process video still by Nora" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-08-11-at-17.50.13_670.png" width="670" height="418" width_o="1500" height_o="938" src_o="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-08-11-at-17.50.13_1500.png" data-mid="76896831" border="0" align="left" data-title="670 — 670 × 418"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-08-11-at-17.50.13_1340_c.png" caption=" Process video still by Nora" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-05-at-12.11.38_670.png" width="670" height="418" width_o="1500" height_o="938" src_o="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-05-at-12.11.38_1500.png" data-mid="76896832" border="0" align="left" data-title="670 — 670 × 418"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-05-at-12.11.38_1340_c.png" caption=" Process video still by Nora" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-05-at-12.12.48_670.png" width="670" height="418" width_o="1500" height_o="938" src_o="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-05-at-12.12.48_1500.png" data-mid="76896833" border="0" align="left" data-title="670 — 670 × 418"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-05-at-12.12.48_1340_c.png" caption=" Process video still by Nora" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-15.01.01_670.png" width="670" height="418" width_o="1500" height_o="938" src_o="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-15.01.01_1500.png" data-mid="76896834" border="0" align="left" data-title="670 — 670 × 418"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-15.01.01_1340_c.png" caption=" Process video still by Nora" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-16.17.59_670.png" width="670" height="418" width_o="1500" height_o="938" src_o="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-16.17.59_1500.png" data-mid="76896835" border="0" align="left" data-title="670 — 670 × 418"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-16.17.59_1340_c.png" caption=" Process video still by Nora" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-21.09.31_670.png" width="670" height="418" width_o="1500" height_o="938" src_o="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-21.09.31_1500.png" data-mid="76896836" border="0" align="left" data-title="670 — 670 × 418"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-21.09.31_1340_c.png" caption=" Process video still by Nora" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-21.10.30_670.png" width="670" height="418" width_o="1500" height_o="938" src_o="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-21.10.30_1500.png" data-mid="76896837" border="0" align="left" data-title="670 — 670 × 418"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-21.10.30_1340_c.png" caption=" Process video still by Nora" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-21.15.56_670.png" width="670" height="418" width_o="1500" height_o="938" src_o="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-21.15.56_1500.png" data-mid="76896838" border="0" align="left" data-title="670 — 670 × 418"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-21.15.56_1340_c.png" caption=" Process video still by Nora" /><img src="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-21.17.30_670.png" width="670" height="418" width_o="1500" height_o="938" src_o="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-21.17.30_1500.png" data-mid="76896839" border="0" align="left" data-title="670 — 670 × 418"data-hi-res="https://payload.cargocollective.com/1/14/472667/13923991/Screen-Shot-2019-09-07-at-21.17.30_1340_c.png" caption=" Process video still by Nora" /><br /> <br /> <br /> Nora the Many (a film in ___ parts)<br /> <br /> London-based dance group Nora has invited Eleanor Bauer to work with them. Bauer has invited Nora (Eleanor Sikorski, Flora Wellesley Wesley and Stephanie McMann) into her ongoing practice-based research on choreography (choreo | graphy) as the etymological-ontological relation between khoreia (dancing together) and graphia (writing). <br /> <br /> Together we are making a movie. <br /> <br /> Taking choreographic thought and structure into filmmaking, we write a screenplay from the dance studio outward. Working with the guidance and inspiration of Karinne Keithley's Pelagic School of Writing, in which ideokinesis leads to playwriting, we conflate Karinne's wide confluence of influences (from Somatics and Dance to Music and Landscape Theatre, and so much more) with Bauer's turbulent flows of choreo-graphic research to go from dancing to writing (as choreo - graphy) of a film. Sourcing our experiences of dancing for images, character, voice, and poetics, and culling from our polyphonic stockpile of phantasmagoric field notes, we compost/compose a nonlinear multiverse of narrative structuring, crumbling, and weaving. Through decomposition, recomposition, compost-ition and swerve, we look for an arrangement of voices and rhythms that expresses the thinking-feeling-knowing of dancing in images and words, in a textural logic of text as textare in Latin, to weave, the logic of our logos includes holes for permeability. Because these fluid membranes are porous. <br /> <br /> In order to bring our experiences of dancing to the mody-binds of our audience, the medium of film is chosen (be it digital or filmy celluloid, the the original love affair of moving image and dance persists) for cinema's capacity to blur fantasy and reality, jump-cut and zoom between different times and places, and "score" the imagination through rhythms and perspectives that the proscenium-staged witness experience procludes. In an effort to articulate and share "how dance(-ing) thinks," the movement of attention and the attention of movement is our dramaturg, our editor, our muse, our boss. "It's not Science Fiction, it's Sensual Journalism!" reminds Frances Dupont, co-founder of Coven Press and retired champion surfer whose preferred "work" "uniform" is still a wetsuit, enthusiastically upholding/imposing the use of to the term "Sensual Journalism," as coined by Coven Press Janitor, Jacob Sander Gemini Samuelsson Jr.. <br /> <br /> Putting the ass brain in alignment with the gut brain in alignment with the voice-brain in alignment with the heart-brain in alignment with the smelling/tasting-brain in alignment with the hearing/seeing-brain in alignment with imagining-head-brain in alignment with the beyond-imagination-brain, a tale/tail of many mody-binds laid out in time, lineages and futures splayed out of line, is told in the infinite unfold. <br /> <br /> Yet the question remains, "How Many Folds Does it Take to Get to The Center of the Multiverse?" (muses any one of our narrator(s), Elber the Cyborg-Child, later a.k.a. Hektor the Rhapsode, or the Nightingale, Beehive, Snail, or Whale)... not to be answered but sung in mad polyphonic overtones with all the other questions not to be answered but rather inserted in the margins and interstices of organs pumping, swirling and humming their way into this giant Frankenstinian polyrhythm of mody-binds within mody-binds, telling their tales taking splace on and in the sites of Tworden The Giant's actual IRL body. This exact revelation of in-human site-scale is uncovered at some point in our anti-plot by an obscene autopsy procedure of Tworden the Giant performed by Dr. Dance, PhD on her live-streamed post-television dance-messianic educational healing show called "Doctor Dance," whence the anthropological ani-morphic cause of Tworden's untimely death is revealed: [REDACTED] (SPOILER ALERT!).<br /> <br /> Cross-polinating the procedural methodology and clarity of roles in filmmaking with the messy power dynamics and embodied wholisticism of dancemaking, the resulting film is, ultimately, a choreography, but one that invites the viewer deep inside the twisted modybinds of its makers, rather than keeping you outside the fourth wall looking in. "All ye who enter here, prepare to feel unprepared" warns narrating Elber the Cyborg-Child, "and yet know you have been preparing for this moment all your life - so no biggie, it's just dance, it won't bite but it could also save your life if you want." (Elber was raised on Doctor Dance and her children's books, published via Coven Press within the mini-series "Montessori 4 Lyfe!").<br /> <br /> Taking dancing-writing as narration as image-(an)in(m)ation, the processes and methodologies of filmmaking in friction and allegiance with the processes and methodologies of dance-making allow for greater autonomy and therefore conversation and movement between the roles of the dancing mody and the writing bind, the performing mody and the directing bind, the creating mody and the editing bind, than we experience in more typical choreographic process wherein everything happens all at once and constantly, in the room with the people, in real time, in collective practice (or tyrannical process as it often were); as well as more space for experimentation than happens in a more typical cinematographic lineage wherein everything unfolds from a preordained script and strict schedule as maintained by watch of the barking Assistant Director hound keeping the "creatives" on tight leashes. [puking and fucking sounds offscreen pump n grind into frame, smiling and throwing the bird at the camera, in an Isadorable-like tangle affectionately referred to as "The Dance of The Norables," maybe somewhere around chapter 4, entitled ASTRA, the 4 of which stands also for "culture or freedom" in Supreme Mathematics, which is one lens or cipher for comprehending form and order, also invited to the organisational weave-party.] But you don't have to "understand" any of it like this or like that (and like this and uh), "for the point is not a point but the SPLACE," insists Sephora Murdoch, Coven Press owner, CEO, and Elber's secret biological mother, "we make it felt for you so that känna i.e. to know and to feel, at once (på Svenska) is possible for all the mody-binds who attend to this multi-SPLACE with their own unique arrangements of intelligence and understanding. Multiplication of Perspective includes YOU are welcome to interpret and therefore participate in the meaning-making that we wish never to conclude." <br /> <br /> Does this sound ambitious? It is no coincidence that Nora the Many is a title of mythic proportions, for we are creatively re-writing, from the nonlinear, 3D, and polyphonic wisdom of our dancing mody-binds outward, the very cosmologies that have previously failed to place dancing at the center of our multiverse. Like a many-headed monster, or a Medusa whose every single head-snake is a Speaker Of The House, there is no single Alexander the Great (besides maybe Electric Alan, our fave bowler at Memory Lanes of West Tworden's Tarsals, whose enigmatic appeal really does mystify), only Nora the Many, passing the ball indefinitely, and in a quantum sort of way, wherein The Ball can be many places and spacetimes at once. Or, in the words of Dr. Dance, PhD, "There is no late to the party when the party never ends!" [said while smiling and dancing into her self-proclaimed Church of JOD*] <br /> <br /> (*JOD = Joy Of Dance, the Church of JOD being a sweet sweaty salty splace indeed, in which all are truly welcome.) <br /> <br /> <br /> Nora the Many<br /> Written and directed by The Something Brothers Sithers<br /> <br /> Premiere(s): Fall 2021 at Sadler’s Wells London and Dansens Hus Stockholm<br /> <br /> Containership, Direction, Inclusion (Känography / Tjänography / Tjenography): Eleanor Bauer<br /> choreo | graphic screenplay written with and by: Eleanor Bauer, Eleanor Sikorski, Flora Wellesley Wesley, Stephanie McMann & Coven Press* <br /> *Coven Press collective dancing-writing posse has included so far, in different constellations on and offline: Eleanor Bauer, Juliette Uzor, Kai Evans, Tilman O’Donnel, Stina Nyberg, Halla Ólafsdóttir, Adam Seid Tahir, Alice MacKenzie, Zoë Poluch, Eleanor Sikorski, Flora Wellesley Wesley, Stephanie McMann, Season Butler, and Peter Mills.<br /> Filmic editing: Matthew Sundin (overview), Mia Engberg (Dark Splaces), Eleanor Sikorski (Nora) Ingrid Corradini (Moves2).<br /> Original Motion Picture Soundtrack: Zeena Parkins<br /> Cinematographic contributions by: Mia Engberg (Dark Splaces), Mariangela Pulchino (A lot of moving parts Helsinki), Ingrid Corradini (Moves2), the Yale Center for Collaborative Arts and Media (CCAM: Dana Karwas, Bobby Berry, and 18 3D Motion Capture Cameras), Eleanor Sikorski (Nora), Flora Wellesley-Wesley (Nora), Stephanie McMann (Nora), Eleanor Bauer, and Matthew Sundin.<br /> Lighting (Illumination, Shadow & Sprawl Conduction): Jonatan Winbo<br /> Scenographic support (Känography of Non-Human Things): Josefin Hinders <br /> Graphic Design support (& appearance in the role of Tworden The Giant): Martin Falck<br /> Coproduction: Sadler's Wells (London), Dansens Hus (Stockholm), Stockholm University of the Arts<br /> Additional Residencies & Support: Chisenhale Dance London, Dance East Ipswich, & more, TBC.<br /> <br /> Stay the f*** tuned. Nora the Many (a film in ___ parts) London-based dance group Nora has invited Eleanor Bauer to work with them. Bauer has invited Nora (Eleanor Sikorski, Flora... https://goodmove.be/NEAR https://goodmove.be/following/goodmove.be/NEAR Thu, 07 Jun 2018 02:03:34 +0000 ELEANOR BAUER | GOOD MOVE 13545694 <img src="https://payload.cargocollective.com/1/14/472667/13545694/DSC7700_670.jpg" width="670" height="447" width_o="3716" height_o="2480" src_o="https://payload.cargocollective.com/1/14/472667/13545694/DSC7700_3716.jpg" data-mid="73490324" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/14/472667/13545694/DSC7700_1340_c.jpg" caption=" photo by Urban Jörén" /><img src="https://payload.cargocollective.com/1/14/472667/13545694/DSC5805_670.jpg" width="670" height="447" width_o="3716" height_o="2480" src_o="https://payload.cargocollective.com/1/14/472667/13545694/DSC5805_3716.jpg" data-mid="73490282" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/14/472667/13545694/DSC5805_1340_c.jpg" caption=" photo by Urban Jörén" /><img src="https://payload.cargocollective.com/1/14/472667/13545694/DSC6470_670.jpg" width="670" height="447" width_o="3716" height_o="2480" src_o="https://payload.cargocollective.com/1/14/472667/13545694/DSC6470_3716.jpg" data-mid="73490300" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/14/472667/13545694/DSC6470_1340_c.jpg" caption=" photo by Urban Jörén" /><img src="https://payload.cargocollective.com/1/14/472667/13545694/DSC6092_670.jpg" width="670" height="447" width_o="3716" height_o="2480" src_o="https://payload.cargocollective.com/1/14/472667/13545694/DSC6092_3716.jpg" data-mid="73490284" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/14/472667/13545694/DSC6092_1340_c.jpg" caption=" photo by Urban Jörén" /><img src="https://payload.cargocollective.com/1/14/472667/13545694/DSC8516_670.jpg" width="670" height="447" width_o="3716" height_o="2480" src_o="https://payload.cargocollective.com/1/14/472667/13545694/DSC8516_3716.jpg" data-mid="73490330" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/14/472667/13545694/DSC8516_1340_c.jpg" caption=" photo by Urban Jörén" /><img src="https://payload.cargocollective.com/1/14/472667/13545694/DSC6590_670.jpg" width="670" height="447" width_o="3716" height_o="2480" src_o="https://payload.cargocollective.com/1/14/472667/13545694/DSC6590_3716.jpg" data-mid="73490303" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/14/472667/13545694/DSC6590_1340_c.jpg" caption=" photo by Urban Jörén" /><img src="https://payload.cargocollective.com/1/14/472667/13545694/DSC6207_670.jpg" width="670" height="447" width_o="3716" height_o="2480" src_o="https://payload.cargocollective.com/1/14/472667/13545694/DSC6207_3716.jpg" data-mid="73490289" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/14/472667/13545694/DSC6207_1340_c.jpg" caption=" photo by Urban Jörén" /><img src="https://payload.cargocollective.com/1/14/472667/13545694/DSC6636_670.jpg" width="670" height="447" width_o="3716" height_o="2480" src_o="https://payload.cargocollective.com/1/14/472667/13545694/DSC6636_3716.jpg" data-mid="73490307" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/14/472667/13545694/DSC6636_1340_c.jpg" caption=" photo by Urban Jörén" /><img src="https://payload.cargocollective.com/1/14/472667/13545694/Ny_DSC8755_670.jpg" width="670" height="447" width_o="3716" height_o="2480" src_o="https://payload.cargocollective.com/1/14/472667/13545694/Ny_DSC8755_3716.jpg" data-mid="73490338" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/14/472667/13545694/Ny_DSC8755_1340_c.jpg" caption=" photo by Urban Jörén" /><img src="https://payload.cargocollective.com/1/14/472667/13545694/Beskuren2.0_DSC7522_670.jpg" width="670" height="447" width_o="3716" height_o="2480" src_o="https://payload.cargocollective.com/1/14/472667/13545694/Beskuren2.0_DSC7522_3716.jpg" data-mid="73490269" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/14/472667/13545694/Beskuren2.0_DSC7522_1340_c.jpg" caption=" photo by Urban Jörén" /><img src="https://payload.cargocollective.com/1/14/472667/13545694/Jonatan-Leandoer-Hastad-och-Eleanor-Bauer_670.jpg" width="670" height="1005" width_o="3840" height_o="5760" src_o="https://payload.cargocollective.com/1/14/472667/13545694/Jonatan-Leandoer-Hastad-och-Eleanor-Bauer_3840.jpg" data-mid="73490721" border="0" align="left" data-title="670 — 670 × 1005"data-hi-res="https://payload.cargocollective.com/1/14/472667/13545694/Jonatan-Leandoer-Hastad-och-Eleanor-Bauer_1340_c.jpg" caption=" photo by Fredrik Andersson Andersson" /><img src="https://payload.cargocollective.com/1/14/472667/13545694/Martin-Falk-Cullberg-Near-artwork-270518_670.jpg" width="670" height="947" width_o="2480" height_o="3508" src_o="https://payload.cargocollective.com/1/14/472667/13545694/Martin-Falk-Cullberg-Near-artwork-270518_2480.jpg" data-mid="72986015" border="0" align="left" data-title="670 — 670 × 947"data-hi-res="https://payload.cargocollective.com/1/14/472667/13545694/Martin-Falk-Cullberg-Near-artwork-270518_1340_c.jpg" caption=" ©Martin Falck for Cullbergbaletten, portrait photo by Fredrik Andersson Andersson" /><br /> <br /> <br /> NEAR is a tryst in a swamp house somewhere between nature and civilization where we meet to suspend and incubate the fragile in-betweens. In a no-man’s land between music concert, nightmarish story ballet, and a clumsy autopsy, NEAR is full-disclosure and 100% sincere but never familiar, intimate but never comfortable. As if waking up in pants that are too short and shoes that don’t fit is the only way to stay awake to the differences, sensitive to the strangeness within and out there, NEAR takes a microscope to the things we didn’t know were there, hiding in plain view just beneath the skin. It’s not about stating the obvious, but sometimes saying it plain is the hardest thing to do. Listening to the peripheral voices, magnifying the marginal messages, un-forgetting the better-forgotten, NEAR is a decryption formula for Unknown Memories. With recognition at arms-length but still very cozy, the performance insists on remaining a stranger unto itself. Somewhere in the shadows between past and future, heavy and uplifting, self and other, Near hovers on in a biome that doesn’t want a name. <br /> <br /> NEAR is a one-off collaboration between choreographer Eleanor Bauer, music artist Jonatan Leandoer Håstad/Yung Lean, and the dancers of the Cullbergb. Teaming up with multi-instrumentalist and composer Frederik Valentin, lighting designer Jonatan Winbo, set designer Josefin Hinders, and costume designer Pontus Pettersson, the genre of performance floats between music concert and dance performance, belonging entirely to neither and both.<br /> <br /> <br /> BOOKING<br /> <br /> For tour booking of NEAR, contact:<br /> Key Performance<br /> Koen Vanhove<br /> +46 760 49 42 93<br /> info@keyperformance.se<br /> <br /> CREDITS<br /> <br /> Concept<br /> Eleanor Bauer with Jonatan Leandoer Håstad/Yung Lean and the design team<br /> <br /> Choreography and Direction<br /> Eleanor Bauer<br /> <br /> Performance and Choreography<br /> Adam Schütt, Camille Prieux, Daniel Sjökvist, Eleanor Campbell, Eliott Marmouset, Gesine Moog, Georges Hann, Giacomo Citton, Katie Jacobson, Mohamed Y. Shika, Suelem de Oliveira da Silva, Sylvie Gehin Karlsson, and Unn Faleide<br /> <br /> Assistants to the Choreographic Process<br /> Cullbergbaletten Rehearsal director Lisa Drake, Cullbergbaletten dancers Nuria Guiu Sagarra, Vincent van der Plas, Anand Bolder, and Cullberbaletten apprentices Heather Birley and Yulia Kalinchenko<br /> <br /> Music<br /> Jonatan Leandoer Håstad (Yung Lean) in collaboration with Frederik Valentin<br /> <br /> Set Design<br /> Josefin Hinders<br /> <br /> Light Design<br /> Jonatan Winbo<br /> <br /> Costume Design<br /> Pontus Pettersson with the performers<br /> <br /> Assistant to the set designer <br /> Linnea Birkelund<br /> <br /> Sandbox Graffiti <br /> Jenny Palén and David Danell<br /> <br /> Art direction, graphic design <br /> Martin Falck<br /> <br /> Set Construciton<br /> Riksteaterns Teknik och Ateljéer<br /> <br /> Co-Production<br /> Cullbergbaletten<br /> Luger<br /> Way Out West festival Gothenburg<br /> Southbank Centre, London<br /> <br /> DATES<br /> <br /> 10 August 2018 (world premiere)<br /> Azalea stage @ Way Out West<br /> Gothenburg, SE<br /> <br /> 13-14 September 2018 (premiere with Yung Lean)<br /> Dramaten<br /> Stockholm, SE<br /> <br /> 25-26 May 2019<br /> Festival Rencontres Chorégraphiques at MC93 Bobigny<br /> Paris, FR<br /> <br /> 28-29 August, 2019<br /> Parkteatern<br /> Stockholm, SE<br /> <br /> For further touring dates, see CULLBERGBALETTEN<br /> <br /> NEAR is a tryst in a swamp house somewhere between nature and civilization where we meet to suspend and incubate the fragile in-betweens. In a no-man’s land b... https://goodmove.be/A-LOT-OF-MOVING-PARTS https://goodmove.be/following/goodmove.be/A-LOT-OF-MOVING-PARTS Thu, 15 Mar 2018 14:12:43 +0000 ELEANOR BAUER | GOOD MOVE 13432583 <img src="https://payload.cargocollective.com/1/14/472667/13432583/1-ALOMP-image-Martin-Argyroglo-photo-plus-Bauer-palm-collage-Eleanor-Bauer_670.jpg" width="670" height="483" width_o="4032" height_o="2912" src_o="https://payload.cargocollective.com/1/14/472667/13432583/1-ALOMP-image-Martin-Argyroglo-photo-plus-Bauer-palm-collage-Eleanor-Bauer_4032.jpg" data-mid="75028908" border="0" align="left" data-title="670 — 670 × 483"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/1-ALOMP-image-Martin-Argyroglo-photo-plus-Bauer-palm-collage-Eleanor-Bauer_1340_c.jpg" caption=" Collage ©Eleanor Bauer 2019: performance photo ©Martin Argygroglo Lafayette Anticipations Paris 2018 with palm photo by Eleanor Bauer, 2017" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-025_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-025_5000.jpg" data-mid="73773485" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-025_1340_c.jpg" caption=" Photo ©Martin Argyroglo, Lafayette Anticipations, Paris, 2018" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-010_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-010_5000.jpg" data-mid="73779856" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-010_1340_c.jpg" caption=" Photo ©Martin Argyroglo, Lafayette Anticipations, Paris, 2018" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-051_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-051_5000.jpg" data-mid="73773487" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-051_1340_c.jpg" caption=" Photo ©Martin Argyroglo, Lafayette Anticipations, Paris, 2018" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-057_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-057_5000.jpg" data-mid="73773490" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-057_1340_c.jpg" caption=" Photo ©Martin Argyroglo, Lafayette Anticipations, Paris, 2018" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-019_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-019_5000.jpg" data-mid="73773771" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-019_1340_c.jpg" caption=" Photo ©Martin Argyroglo, Lafayette Anticipations, Paris, 2018" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-059_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-059_5000.jpg" data-mid="73773492" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-059_1340_c.jpg" caption=" Photo ©Martin Argyroglo, Lafayette Anticipations, Paris, 2018" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-061_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-061_5000.jpg" data-mid="73773495" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/ARM180920-061_1340_c.jpg" caption=" Photo ©Martin Argyroglo, Lafayette Anticipations, Paris, 2018" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/_D8X7129_CREDIT-IAN-DOUGLAS_670.jpg" width="670" height="446" width_o="4029" height_o="2682" src_o="https://payload.cargocollective.com/1/14/472667/13432583/_D8X7129_CREDIT-IAN-DOUGLAS_4029.jpg" data-mid="74098479" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/_D8X7129_CREDIT-IAN-DOUGLAS_1340_c.jpg" caption=" Photo ©Ian Douglas, Danspace Project, New York, 2018" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/_D8X6609_CREDIT-IAN-DOUGLAS_670.jpg" width="670" height="446" width_o="4029" height_o="2684" src_o="https://payload.cargocollective.com/1/14/472667/13432583/_D8X6609_CREDIT-IAN-DOUGLAS_4029.jpg" data-mid="74098475" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/_D8X6609_CREDIT-IAN-DOUGLAS_1340_c.jpg" caption=" Photo ©Ian Douglas, Danspace Project, New York, 2018" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/A-lot-of-moving-parts-25_670.jpg" width="670" height="446" width_o="2800" height_o="1867" src_o="https://payload.cargocollective.com/1/14/472667/13432583/A-lot-of-moving-parts-25_2800.jpg" data-mid="74817000" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/A-lot-of-moving-parts-25_1340_c.jpg" caption=" Photo ©Stanislav Dobak, Kaaistudios, Brussels, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/A-lot-of-moving-parts-31_670.jpg" width="670" height="446" width_o="2800" height_o="1867" src_o="https://payload.cargocollective.com/1/14/472667/13432583/A-lot-of-moving-parts-31_2800.jpg" data-mid="74816967" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/A-lot-of-moving-parts-31_1340_c.jpg" caption=" Photo ©Stanislav Dobak, Kaaistudios, Brussels, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/A-lot-of-moving-parts-33_670.jpg" width="670" height="446" width_o="2800" height_o="1867" src_o="https://payload.cargocollective.com/1/14/472667/13432583/A-lot-of-moving-parts-33_2800.jpg" data-mid="74816966" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/A-lot-of-moving-parts-33_1340_c.jpg" caption=" Photo ©Stanislav Dobak, Kaaistudios, Brussels, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/A-lot-of-moving-parts-32_670.jpg" width="670" height="446" width_o="2800" height_o="1866" src_o="https://payload.cargocollective.com/1/14/472667/13432583/A-lot-of-moving-parts-32_2800.jpg" data-mid="74817005" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/A-lot-of-moving-parts-32_1340_c.jpg" caption=" Photo ©Stanislav Dobak, Kaaistudios, Brussels, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/A-lot-of-moving-parts-21_670.jpg" width="670" height="446" width_o="2800" height_o="1867" src_o="https://payload.cargocollective.com/1/14/472667/13432583/A-lot-of-moving-parts-21_2800.jpg" data-mid="74817010" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/A-lot-of-moving-parts-21_1340_c.jpg" caption=" Photo ©Stanislav Dobak, Kaaistudios, Brussels, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/_MG_9666_1_1_670.JPG" width="670" height="446" width_o="1600" height_o="1067" src_o="https://payload.cargocollective.com/1/14/472667/13432583/_MG_9666_1_1_1600.JPG" data-mid="76896747" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/_MG_9666_1_1_1340_c.JPG" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/B_MG_9668_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/B_MG_9668_5000.jpg" data-mid="76951587" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/B_MG_9668_1340_c.jpg" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/C_MG_9674_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/C_MG_9674_5000.jpg" data-mid="76951588" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/C_MG_9674_1340_c.jpg" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/D_MG_9678_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/D_MG_9678_5000.jpg" data-mid="76951589" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/D_MG_9678_1340_c.jpg" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/E_MG_9682_1_1_670.JPG" width="670" height="446" width_o="1600" height_o="1067" src_o="https://payload.cargocollective.com/1/14/472667/13432583/E_MG_9682_1_1_1600.JPG" data-mid="76951590" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/E_MG_9682_1_1_1340_c.JPG" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/F_MG_9688_1_1_670.JPG" width="670" height="442" width_o="1600" height_o="1057" src_o="https://payload.cargocollective.com/1/14/472667/13432583/F_MG_9688_1_1_1600.JPG" data-mid="76951591" border="0" align="left" data-title="670 — 670 × 442"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/F_MG_9688_1_1_1340_c.JPG" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/G_MG_9692_1_1_670.JPG" width="670" height="446" width_o="1600" height_o="1067" src_o="https://payload.cargocollective.com/1/14/472667/13432583/G_MG_9692_1_1_1600.JPG" data-mid="76951592" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/G_MG_9692_1_1_1340_c.JPG" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/H_MG_9702_670.JPG" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/H_MG_9702_5000.JPG" data-mid="76951593" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/H_MG_9702_1340_c.JPG" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/I_MG_9728_670.JPG" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/I_MG_9728_5000.JPG" data-mid="76951594" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/I_MG_9728_1340_c.JPG" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/J_MG_9753_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/J_MG_9753_5000.jpg" data-mid="76951595" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/J_MG_9753_1340_c.jpg" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/K_MG_9767_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/K_MG_9767_5000.jpg" data-mid="76951596" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/K_MG_9767_1340_c.jpg" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/L_MG_9786_670.JPG" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/L_MG_9786_5000.JPG" data-mid="76951597" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/L_MG_9786_1340_c.JPG" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/M_MG_9791_1_1_670.JPG" width="670" height="446" width_o="1600" height_o="1067" src_o="https://payload.cargocollective.com/1/14/472667/13432583/M_MG_9791_1_1_1600.JPG" data-mid="76951598" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/M_MG_9791_1_1_1340_c.JPG" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/N_MG_9801_670.JPG" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/N_MG_9801_5000.JPG" data-mid="76951599" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/N_MG_9801_1340_c.JPG" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/O_MG_9807_670.JPG" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/O_MG_9807_5000.JPG" data-mid="76951600" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/O_MG_9807_1340_c.JPG" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/P_MG_9823_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/P_MG_9823_5000.jpg" data-mid="76951601" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/P_MG_9823_1340_c.jpg" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/Q_MG_9760_670.JPG" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/Q_MG_9760_5000.JPG" data-mid="76951602" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/Q_MG_9760_1340_c.JPG" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/R_MG_9781_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/R_MG_9781_5000.jpg" data-mid="76951603" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/R_MG_9781_1340_c.jpg" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/S_MG_9835_1_1_670.JPG" width="670" height="446" width_o="1600" height_o="1067" src_o="https://payload.cargocollective.com/1/14/472667/13432583/S_MG_9835_1_1_1600.JPG" data-mid="76951604" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/S_MG_9835_1_1_1340_c.JPG" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/T_MG_9849_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/13432583/T_MG_9849_5000.jpg" data-mid="76951606" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/T_MG_9849_1340_c.jpg" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><img src="https://payload.cargocollective.com/1/14/472667/13432583/U_MG_9851_1_1_670.JPG" width="670" height="436" width_o="1600" height_o="1043" src_o="https://payload.cargocollective.com/1/14/472667/13432583/U_MG_9851_1_1_1600.JPG" data-mid="76951607" border="0" align="left" data-title="670 — 670 × 436"data-hi-res="https://payload.cargocollective.com/1/14/472667/13432583/U_MG_9851_1_1_1340_c.JPG" caption=" Photo ©Mariangela Pluchino, Moving in November, Stoa, Helsinki, 2019" /><br /> <br /> In A lot of moving parts, choreographer Eleanor Bauer prods at the Greek etymology of her own discipline: khoreía “dancing together" and graphia "writing" to understand the place of writing in the embodied, social, and oral practices and traditions of dance-making. Working with the frictions, collisions, translations, love affairs and gaps between dancing and writing in a choreographic search for “simple containers in which the complexity of dance may thrive,” Bauer and her collaborators toggle dancing and writing practices in search for the ways that these two media of thought can serve each other best. <br /> <br /> A lot of moving parts dwells in the untranslatable, sensual, absorbent, expansive, non-linear, protean, and mercurial nature of embodied thought, by getting intimate with uncertainty, making the invisible visible, knitting sense with the senses, attending to the minor and peripheral intuitions, and knowing by feeling. In Swedish, to feel and to know are the same verb - känna - coincidence, or poetic justice? Bauer and her collaborators create a porous and open context in which the audience can feel their way through the performance with all of their senses, in a landscape of modular matter, light, sound and movement, continuously reconfiguring the physical, imaginary, and symbolic space of the performance.<br /> <br /> As a malleable framework for Bauer's artistic research practice concerning the relationship between writing and dancing, A lot of moving parts is a flexible container for her ongoing inquiry, evolving over time, and uniquely assembled for each performance. <br /> <br /> <br /> DATES<br /> <br /> 20-21 September 2018 <br /> Lafayette Anticipations — Fondation d’entreprise Galeries Lafayette in the frame of Échelle Humaine in Festival D'Automne à Paris<br /> Paris, FR<br /> <br /> 11-13 October 2018 <br /> Danspace Project at St Mark's Church<br /> New York City, USA<br /> <br /> 11-12 Jan 2019<br /> Kaaithetaerstudios<br /> Brussels, BE<br /> <br /> 31 March 2019<br /> Martha Hill Theater<br /> Bennington College, VT, USA<br /> <br /> 15-17 May 2019<br /> Dansens Hus, Lilla Scen<br /> Stockholm, SE<br /> <br /> 2 November 2019 <br /> A lot (more) moving parts (group version)<br /> STOA / Moving in November Festival <br /> Helsinki, FI<br /> <br /> 1-3 October 2020 <br /> A lot of moving parts VII (Sleeping Giant Dreams)<br /> Dansens Hus, Stora Scen<br /> Stockholm, SE<br /> <br /> _________________________________________________________________<br /> <br /> CREDITS<br /> <br /> Concept<br /> Eleanor Bauer<br /> <br /> Choreography, text, and performance<br /> Solo versions (2018-2019): Eleanor Bauer<br /> Group version (Helsinki, 2019): performed by Eleanor Bauer, Kai Evans, Alice MacKenzie, Stina Nyberg, Adam Seid Tahir, Alexander Talts, Juliette Uzor. Created with (but not performing): Halla Ólafsdóttir, Tilman O’Donnell, Zoë Poluch<br /> <br /> Costume<br /> Solo base costume: Sofie Durnez & Eleanor Bauer.<br /> Blue tangle sweatshirt for Stockholm version by Effie Bowen.<br /> Costumes for Helsinki group version assembled by the cast.<br /> Costumes for Dansens Hus Stora Scen version recycled by Eleanor Bauer and the cast with contributions by Mark Kenley. Domino Tan (from Sensuality Happens) and Sofie Durnez (from Meyoucycle, New Joy, and A lot of moving parts)<br /> <br /> Scenography<br /> Eleanor Bauer in collaboration with:<br /> Sofie Durnez<br /> Josefin Hinders<br /> <br /> Lighting<br /> Jonatan Winbo<br /> <br /> Music (for Paris, New York, and Helsinki performances)<br /> WATT​<br /> Julien Pontvianne, clarinet <br /> Antonin-Tri Hoang, clarinets <br /> Jean-Brice Godet, clarinets<br /> Jean Dousteyssier, clarinet<br /> <br /> Music (for Brussels and Stockholm performances)<br /> Eleanor Bauer<br /> <br /> Production<br /> GoodMove vzw <br /> Group versions created with administrative support of the artist cooperative Interim kultur AB (svb)<br /> <br /> With the support of: <br /> Lafayette Anticipations — Fondation d’entreprise Galeries Lafayette (Paris), Danspace Project 2018-19 Commissioning Initiative with support from the Andrew W. Mellon Foundation (New York), Moving in November (Helsinki), Dansens Hus (Stockholm), and SKH Stockholm University of the Arts. In A lot of moving parts, choreographer Eleanor Bauer prods at the Greek etymology of her own discipline: khoreía “dancing together" and graphia "writing" to un... https://goodmove.be/NEW-JOY https://goodmove.be/following/goodmove.be/NEW-JOY Sun, 12 Feb 2017 18:32:03 +0000 ELEANOR BAUER | GOOD MOVE 12495338 <img src="https://payload.cargocollective.com/1/14/472667/12495338/BIGDATAPERFORMANCE_670.jpg" width="670" height="442" width_o="1728" height_o="1142" src_o="https://payload.cargocollective.com/1/14/472667/12495338/BIGDATAPERFORMANCE_1728.jpg" data-mid="66970563" border="0" align="left" data-title="670 — 670 × 442"data-hi-res="https://payload.cargocollective.com/1/14/472667/12495338/BIGDATAPERFORMANCE_1340_c.jpg" caption="&lt;i&gt;The Last Judgement: 'Contemporary Performance' against the backdrop of 'Big Data.' A collaboration with Google Image Search&lt;/I&gt; – Amelia Bauer, 2017" /><img src="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-1_670.jpg" width="670" height="1005" width_o="3648" height_o="5472" src_o="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-1_3648.jpg" data-mid="74867193" border="0" align="left" data-title="670 — 670 × 1005"data-hi-res="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-1_1340_c.jpg" caption="Photo by Birgit Hupfeld" /><img src="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-3_670.jpg" width="670" height="445" width_o="5000" height_o="3326" src_o="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-3_5000.jpg" data-mid="74867194" border="0" align="left" data-title="670 — 670 × 445"data-hi-res="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-3_1340_c.jpg" caption="Photo by Birgit Hupfeld" /><img src="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-6_670.jpg" width="670" height="1012" width_o="3841" height_o="5804" src_o="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-6_3841.jpg" data-mid="74867195" border="0" align="left" data-title="670 — 670 × 1012"data-hi-res="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-6_1340_c.jpg" caption="Photo by Birgit Hupfeld" /><img src="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-12_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-12_5000.jpg" data-mid="74867198" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-12_1340_c.jpg" caption="Photo by Birgit Hupfeld" /><img src="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-20_670.jpg" width="670" height="1008" width_o="3773" height_o="5679" src_o="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-20_3773.jpg" data-mid="74867209" border="0" align="left" data-title="670 — 670 × 1008"data-hi-res="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-20_1340_c.jpg" caption="Photo by Birgit Hupfeld" /><img src="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-10_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-10_5000.jpg" data-mid="74867197" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-10_1340_c.jpg" caption="Photo by Birgit Hupfeld" /><img src="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-19_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-19_5000.jpg" data-mid="74867208" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-19_1340_c.jpg" caption="Photo by Birgit Hupfeld" /><img src="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-17_670.jpg" width="670" height="1005" width_o="3840" height_o="5760" src_o="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-17_3840.jpg" data-mid="74867206" border="0" align="left" data-title="670 — 670 × 1005"data-hi-res="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-17_1340_c.jpg" caption="Photo by Birgit Hupfeld" /><img src="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-15_670.jpg" width="670" height="1005" width_o="3648" height_o="5472" src_o="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-15_3648.jpg" data-mid="74867202" border="0" align="left" data-title="670 — 670 × 1005"data-hi-res="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-15_1340_c.jpg" caption="Photo by Birgit Hupfeld" /><img src="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-18_670.jpg" width="670" height="1005" width_o="3840" height_o="5760" src_o="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-18_3840.jpg" data-mid="74867207" border="0" align="left" data-title="670 — 670 × 1005"data-hi-res="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-18_1340_c.jpg" caption="Photo by Birgit Hupfeld" /><img src="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-16_670.jpg" width="670" height="1005" width_o="3840" height_o="5760" src_o="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-16_3840.jpg" data-mid="74867204" border="0" align="left" data-title="670 — 670 × 1005"data-hi-res="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-16_1340_c.jpg" caption="Photo by Birgit Hupfeld" /><img src="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-14_670.jpg" width="670" height="442" width_o="5000" height_o="3300" src_o="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-14_5000.jpg" data-mid="74867200" border="0" align="left" data-title="670 — 670 × 442"data-hi-res="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-14_1340_c.jpg" caption="Photo by Birgit Hupfeld" /><img src="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-21_670.jpg" width="670" height="1005" width_o="3840" height_o="5760" src_o="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-21_3840.jpg" data-mid="74867211" border="0" align="left" data-title="670 — 670 × 1005"data-hi-res="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-21_1340_c.jpg" caption="Photo by Birgit Hupfeld" /><img src="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-22_670.jpg" width="670" height="1005" width_o="3840" height_o="5760" src_o="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-22_3840.jpg" data-mid="74867213" border="0" align="left" data-title="670 — 670 × 1005"data-hi-res="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-22_1340_c.jpg" caption="Photo by Birgit Hupfeld" /><img src="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-23_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-23_5000.jpg" data-mid="74867217" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-23_1340_c.jpg" caption="Photo by Birgit Hupfeld" /><br /> <br /> <br /> <br /> New Joy<br /> <br /> <br /> With New Joy, choreographer Eleanor Bauer and composer Chris Peck create a Dataist cyber-acapella concert-happening with gesamkunstthings, fermenting in a theatrical compost pit of post-digital detritus. Playfully traversing the boundaries between body language, spoken language, and computer language, between emotional intelligence and artificial intelligence, and between movement and sound, New Joy massages the registers of thought between different aesthetic, social, and informational values in order to uncover latent meanings and yet-unnamed feelings in a world chaotic, excessive, and absurd forms of public communication. <br /> <br /> Nothing to do with happiness, optimism, or causal affections (those would all fall under the category of “Old Joy”), New Joy incites an impatiently accelerationist, poetically opportunist, modestly utopist confrontation with the mediated "post-truth" anthropocene. From nihilist relativism to ecstatic relationalism, from meaninglessness to meaning-excess, New Joy spins off from the moment of transformation when one gives into the overwhelming flow of intel bits, sound bytes, and conflicting views. Leaning into the incoherence, New Joy seeks movement within the currents to cypher new sense from apparent nonsense. Wild and inclusive poetics written through and around the interactions between people and machines in the ontological jungle of coexistent truths construct tiny negentropic loops and eddies in the debris of bit rot, brain drain, misdirected intelligence, and contradictory realities. On a cobbled life raft of beautiful messes and dark humor, New Joy burns a (mis?)guiding light in the fog and clutter of the information sea, on the journey from Nonsense, through Nuisance, to New Sense. <br /> <br /> We are all cyborgs now. In the era of big data, cloud computing, machine learning, and algorithmic programming, computers participate in the shaping of our lives on a time and quantity scale faster and vaster than ever before. While billions of users, content providers, platforms, programmers, algorithms, analysts, devices and their designers generate and organize copious amounts of data, machines and models are increasingly responsible for deciphering relevance. In this relatively recent form of meaning production, how have our personal and social capacities evolved? How do we affect the patterns that shape our perceptions? How actively or passively do we parse out information from noise, create meaning, make sense to and with each other? How can we advance our collaboration with each other and machines towards new forms of understanding, using all of the tools and sensibilities at our disposal? New Joy appeals to all of the senses to make sense in a synaesthetic training program for the twenty-first century – and beyond.<br /> <br /> <br /> DATES:<br /> <br /> 23 February - 17 March, 2019 <br /> Schauspielhaus Bochum (premiere)<br /> Bochum, DE<br /> <br /> 30 May - 1 June, 2019<br /> Kunstenfestivaldesarts at Kaaitheater<br /> Brussels, BE<br /> <br /> _________________________________________________________________<br /> <br /> CREDITS:<br /> <br /> Concept and Direction<br /> Eleanor Bauer & Chris Peck<br /> <br /> Created with and performed by <br /> William Bartley Cooper<br /> Kevin Fay<br /> Gina Haller<br /> Michael Lippold<br /> Veronika Nickl<br /> Anouk Peeters<br /> <br /> Text <br /> Eleanor Bauer, Chris Peck, Annett Jarewski, and the performers <br /> <br /> Choreography<br /> Eleanor Bauer<br /> <br /> Music<br /> Chris Peck<br /> <br /> Scenography<br /> Karel Burssens & Jeroen Verrecht / 88888 with Sofie Durnez<br /> <br /> Costumes <br /> Sofie Durnez <br /> <br /> Light Design<br /> Bernd Felder<br /> <br /> Sound Design/Live Electronics<br /> Lukas Tobiassen<br /> <br /> Artistic Advisor<br /> Gaël Santisteva<br /> <br /> Assistant Director<br /> Annett Jarewski<br /> <br /> Scenography and Costumes Assistant<br /> Tanja Maderner <br /> <br /> Vocal Coach and Outside Ear<br /> Fabienne Seveillac<br /> <br /> Instrument Design Research <br /> Diez Roggisch<br /> <br /> Production<br /> Caravan Production for Good Move vzw<br /> in collaboration with<br /> Schauspielhaus Bochum<br /> <br /> Co-Production<br /> Schauspielhaus Bochum (Bochum, Germany) and GoodMove vzw (Brussels, Belgium) with funding support from The Flemish Authorities, Belgium.<br /> <br /> <img src="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-4_670.jpg" width="670" height="343" width_o="5000" height_o="2563" src_o="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-4_5000.jpg" data-mid="75348643" border="0" align="left" data-title="670 — 670 × 343"data-hi-res="https://payload.cargocollective.com/1/14/472667/12495338/New-Joy_c_Birgit-Hupfeld-4_1340_c.jpg" /> New Joy With New Joy, choreographer Eleanor Bauer and composer Chris Peck create a Dataist cyber-acapella concert-happening with gesamkunstthings, fermenting... https://goodmove.be/PROTO-TALKS https://goodmove.be/following/goodmove.be/PROTO-TALKS Sun, 27 Sep 2015 19:19:28 +0000 ELEANOR BAUER | GOOD MOVE 10475092 <img src="https://payload.cargocollective.com/1/14/472667/10475092/09_BAUER-HOUR--8-c-Jonas-Maes_670.JPG" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/10475092/09_BAUER-HOUR--8-c-Jonas-Maes_864.JPG" data-mid="56399914" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/10475092/09_BAUER-HOUR--8-c-Jonas-Maes_864.JPG" /><br /> <br /> PROTO TALKS<br /> <br /> With PROTO TALKS, Eleanor Bauer proposes a replacement for the conventional after-talk. Instead of trying to explain what we just saw with the already known, rehearsed, and press-released talk, Bauer talks to the artist whose work we've just seen about what remains yet unanswered, and perhaps yet to come. PROTO TALKS depart from what the artist doesn't know for sure, making public discourse and shared imagination out of nascent ideas that are usually reserved for notebooks, dreams, or conversation with cohorts. Talking about things that aren't yet fully understood, haven't yet been realized, or don't yet have a fully articulated justification, PROTO TALKS are an exercise in negative capability, in speculative theater, in thinking together, in sharing the creative and imaginative space of uncertainty where artistic process fumbles around in the dark searching for form. Sometimes we don't entirely understand things even when they're finished and performed, so talking about the show we've just seen is not off-limits, but Getting All The Answers is not the point of PROTO TALKS. After-talks, publicity texts, program notes, and reviews can talk about what we think we know, but PROTO TALKS are an opportunity to talk about what we know we don't know. <br /> <br /> After two years of BAUER HOUR, wherein Bauer tested the possibilities and limits of a talk-show, Bauer continues with conversation as a medium of soft performance to share discourse with audiences in new ways via PROTO TALKS.<br /> <br /> For past dates, see CV PROTO TALKS With PROTO TALKS, Eleanor Bauer proposes a replacement for the conventional after-talk. Instead of trying to explain what we just saw with the... https://goodmove.be/OTHER-PROJECTS https://goodmove.be/following/goodmove.be/OTHER-PROJECTS Tue, 30 Dec 2014 19:32:05 +0000 ELEANOR BAUER | GOOD MOVE 9106525 <br /> <br /> <img src="https://payload.cargocollective.com/1/14/472667/9106525/02-Summer-on-the-Hudson-Dance-Safari-20-21-Sept-Zhen-Heinemann_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106525/02-Summer-on-the-Hudson-Dance-Safari-20-21-Sept-Zhen-Heinemann_864.jpg" data-mid="49249933" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106525/02-Summer-on-the-Hudson-Dance-Safari-20-21-Sept-Zhen-Heinemann_864.jpg" caption=" &lt;br /&gt; (hold cursor over image to freeze slideshow, click image to advance)&lt;br /&gt; &lt;br /&gt; &lt;b&gt;Untitled, Untempered, Untamed&lt;/b&gt;&lt;br /&gt; &lt;br /&gt; &lt;i&gt;Untitled, Untempered, Untamed&lt;/i&gt; is a solo performance practice for synthesizing things that escape being named, for words that skirt around the edges of unsolvable problems, for hairy messes that don't fit tidy containers, for overt disobedience of the project economy of selling promises, all in joyful awkward embrace of the urgent chaotic herenow.&lt;br /&gt; &lt;br /&gt; Involving some combination of dancing, talking, singing, hanging out with the audience, relationships with things that belong to the time and place of the performance, and relationships with things that don't belong to the time and place of the performance, it's never the same thing twice. Composed according to the invitation, the situation, the place, the time, the context, and what's on the burners, it's an open and dirty container, a way of thinking through performing, a momentary crystalization of a process that started whenever and maybe never ends but exists only when we pay collective attention to it.&lt;br /&gt; &lt;br /&gt; 28 October, 2017&lt;br /&gt; &lt;i&gt;&lt;b&gt;Trip The Light - Intercontinental Drifts #3&lt;/b&gt;&lt;/i&gt;&lt;br /&gt; TripSpace, London, UK&lt;br /&gt; &lt;br /&gt; 15 June, 2017&lt;br /&gt; &lt;i&gt;&lt;b&gt;MARIAS / Mezzanine&lt;/b&gt;&lt;/i&gt;&lt;br /&gt; Passos Manuel, Porto, PT&lt;br /&gt; &lt;br /&gt; 13 March, 2015&lt;br /&gt; &lt;i&gt;&lt;b&gt;Atelier&lt;/b&gt;&lt;/i&gt;&lt;br /&gt; PACT Zollverein, Essen, DE.&lt;br /&gt; &lt;br /&gt; 24 November, 2014 &lt;br /&gt; &lt;i&gt;&lt;b&gt;Movement Research at Judson Church&lt;/b&gt;&lt;/i&gt;&lt;br /&gt; Jusdon Memorial Church, New York, US &lt;br /&gt; &lt;br /&gt; 20-21 September, 2014 &lt;br /&gt; &lt;i&gt;&lt;b&gt;Summer on the Hudson&lt;/b&gt;: Dance Safari&lt;/i&gt;&lt;br /&gt; Riverside Park South, New York, US &lt;br /&gt; &lt;br /&gt; 3 May, 2014 &lt;br /&gt; &lt;i&gt;&lt;b&gt;Les 3 du 3&lt;/b&gt;&lt;/i&gt; &lt;br /&gt; Centre de Création Choréographique du Luxembourg, LU &lt;br /&gt; &lt;br /&gt; (photo © Zhen Heinemann) &lt;br /&gt; &lt;br /&gt; " /><br /> <br /> <br /> <img src="https://payload.cargocollective.com/1/14/472667/9106525/walk---talk-3_670.jpg" width="670" height="478" width_o="874" height_o="624" src_o="https://payload.cargocollective.com/1/14/472667/9106525/walk---talk-3_874.jpg" data-mid="61752829" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106525/walk---talk-3_874.jpg" caption=" &lt;br /&gt; (hold cursor over image to freeze slideshow, click image to advance)&lt;br /&gt; &lt;br /&gt; &lt;b&gt;walk + talk&lt;/b&gt;&lt;br /&gt; &lt;br /&gt; &lt;i&gt;walk+talk&lt;/i&gt; is a lecture performance format and curatorial project conceived by Philipp Gehmacher in March 2008 for Tanzquartier Wien in Vienna and again in March 2011 for Kaaistudios in Brussels. For each &lt;i&gt;walk+talk&lt;/i&gt; series, Gehmacher invited ten artists at to create individual lecture performances on their concepts and understandings of their body-in-motion, verbalising their thoughts on their movement research while practicing and performing the movement work itself, with talking and moving running parallel. The proposal creates space and visibility for artist’s own discourse to emerge from within practice itself. &lt;i&gt;walk+talk&lt;/i&gt; is a performance setting that has the fragility and urgency of the now: thinking aloud, speaking and moving in real time with movements as they unfurl themselves, presenting artistic processes as performances rather than only performances as mere aesthetic artefacts of process.&lt;br /&gt; &lt;br /&gt; For More information on Walk&amp;Talk, visit &lt;a href=&quot;http://olga0.oralsite.be/oralsite/pages/Walk_+_talk/&quot; target=&quot;_blank&quot;&gt;Oral Site&lt;/a&gt;&lt;br /&gt; &lt;br /&gt; For video, &lt;a href=&quot;http://olga0.oralsite.be/oralsite/pages/Eleanor_Bauer/&quot; target=&quot;_blank&quot;&gt;click here&lt;/a&gt;&lt;br /&gt; &lt;br /&gt; 28 June 2014&lt;br /&gt; &lt;b&gt;Tisch Dance Summer Residency&lt;/b&gt; - Artist-in-Residence performance&lt;br /&gt; New York University, 111 2nd Ave, NY, USA&lt;br /&gt; &lt;br /&gt; 19 March 2011&lt;br /&gt; &lt;i&gt;&lt;b&gt;walk+talk 19 - Eleanor Bauer&lt;/b&gt; &lt;/i&gt;&lt;br /&gt; Kaaistudios, Brussels, BE&lt;br /&gt; &lt;br /&gt; " /><br /> <br /> <br /> <img src="https://payload.cargocollective.com/1/14/472667/9106525/01-Venice-Biennale-Eleanor-Bauer_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106525/01-Venice-Biennale-Eleanor-Bauer_864.jpg" data-mid="49249921" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106525/01-Venice-Biennale-Eleanor-Bauer_864.jpg" caption=" &lt;br /&gt; (hold cursor over image to freeze slideshow, click image to advance)&lt;br /&gt; &lt;br /&gt; &lt;b&gt;Prelude/Epilogue&lt;/b&gt;&lt;br /&gt; &lt;br /&gt; &lt;i&gt;Prologue/Epilogue&lt;/i&gt; is a durational solo performance that uses Bauer's material from a year-long writing practice formed in collaboration with Rebecka Stillman during the creation of &lt;i&gt;Midday &amp; Eternity (the time piece)&lt;/i&gt;. Inspired initially by Brazilian artist and author Clarice Lispector's book &lt;i&gt;Agua Viva (stream of life)&lt;/i&gt;, the daily writing practice, dubbed &lt;i&gt;Stream of Time&lt;/i&gt;, was an exercise in movement and language, namely in how to treat language as movement, and how to have one's writing affected by one's dancing. Bauer was interested using words to reflect the synthetic and sprawling nature of how meaning relationships are created in dance. In &lt;i&gt;Prelude/Epilogue&lt;/i&gt;, the text from the &lt;i&gt;Stream of Time&lt;/i&gt; is recorded or read aloud as a score for an accompanying dance improvisation which folds the constant flow of words back into movement as two interwoven streams of converging and diverging imagery.&lt;br /&gt; &lt;br /&gt; 30 June, 2013&lt;br /&gt; &lt;i&gt;&lt;b&gt;Venice Biennale&lt;/b&gt; - Biennale Danza &lt;/i&gt;&lt;br /&gt; Campo Santo Stefano, Venice, IT &lt;br /&gt; &lt;br /&gt; 29-30 January, 2013&lt;br /&gt; &lt;i&gt;&lt;b&gt;Festival Antigel&lt;/b&gt;&lt;/i&gt;&lt;br /&gt; Les Bains des Pâquis, Geneva, CH&lt;br /&gt; &lt;br /&gt; " /><br /> <br /> <br /> <img src="https://payload.cargocollective.com/1/14/472667/9106525/11-a-v-i-g-n-o-n-s-e-n-s--Christophe-Raynaud-de-Lage_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106525/11-a-v-i-g-n-o-n-s-e-n-s--Christophe-Raynaud-de-Lage_864.jpg" data-mid="55204183" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106525/11-a-v-i-g-n-o-n-s-e-n-s--Christophe-Raynaud-de-Lage_864.jpg" caption="&lt;br /&gt; (hold cursor over image to freeze slideshow, click image to advance)&lt;br /&gt; &lt;br /&gt; &lt;b&gt;a v i g n o n s e n s (e)&lt;/b&gt; &lt;br /&gt; &lt;br /&gt; &quot;HOW THIS PERFORMANCE IS CONSTRUCTED&lt;br /&gt; &lt;br /&gt; EVERYTHING FOLLOWS FROM THIS PRINCIPLE: THAT THE PERFORMER AND SPECTATOR ARE NOT TO BE REDUCED TO A SIMPLE EXCHANGE OF ATTENTION OR MEANING, BUT RATHER THAT WE READ WITHIN THIS RELATION WHAT IS DESIRING AND INTRACTABLE. WHENCE THE CHOICE OF A CHOREOGRAPHIC METHOD WHICH AFFIRMS AFFINITIES AND RESONATES IN THE LAYERED ACTIONS OF A PRIMARY LANGUAGE, OBJECT LANGUAGE, AND METALANGUAGE. THE INITIAL INTEREST IN A LOVER’S DISCOURSE HAS BEEN REPLACED BY WHAT IT PROPAGATED, AND TO THAT DISCOURSE HAS BEEN ADDED ANOTHER PERSON, ORLANDO, IN ORDER TO STAGE A TRANSFORMATION, NOT A TRANSLATION. WHAT IS PROPOSED, THEN, IS A PORTRAIT — BUT NOT A REPRESENTATIONAL PORTRAIT; INSTEAD, AN AMORPHOUS ONE WHICH OFFERS THE SPECTATOR A DISPLACED SITE: THE SITE OF SOMEONE DANCING THROUGH, OUTSIDE, ON, AND WITHIN THE LINES, REFLECTING THE OTHER (THE VOICE, THE DREAM, THE LOVING SUBJECT), WHO DOES NOT MOVE.&quot;&lt;br /&gt; &lt;br /&gt; (quote from performance, written by Eleanor Bauer and Veli Lehtovaara, after Roland Barthes, &lt;i&gt;How This Book Is Constructed&lt;/i&gt;, introduction to &lt;i&gt;A Lover's Discourse&lt;/i&gt;)&lt;br /&gt; &lt;br /&gt; Created and performed by Eleanor Bauer &amp; Veli Lehtovaara /&lt;br /&gt; Commissioned and co-produced by SACD and Festival d'Avignon in the frame of &lt;i&gt;Sujets à Vif&lt;/i&gt;&lt;br /&gt; &lt;br /&gt; 15-17 &amp; 19-21 July, 2015&lt;br /&gt; &lt;i&gt;&lt;b&gt;Festival d'Avignon / &lt;i&gt;Sujets à Vif&lt;/i&gt;&lt;/i&gt;&lt;/b&gt; &lt;br /&gt; Jardin de la Vierge du lycée Saint-Joseph, Avignon, FR&lt;br /&gt; &lt;br /&gt; (photo © Christophe Raynaud de Lage)&lt;br /&gt; &lt;br /&gt; " /><br /> <br /> <br /> <img src="https://payload.cargocollective.com/1/14/472667/9106525/ouroboracular_670.jpg" width="670" height="377" width_o="1280" height_o="722" src_o="https://payload.cargocollective.com/1/14/472667/9106525/ouroboracular_1280.jpg" data-mid="73298862" border="0" align="left" data-title="670 — 670 × 377"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106525/ouroboracular_1000.jpg" caption=" &lt;br /&gt; (hold cursor over image to freeze slideshow, click image to advance)&lt;br /&gt; &lt;br /&gt; &lt;b&gt;OUROBORACULAR&lt;/b&gt;&lt;br /&gt; &lt;br /&gt; &lt;i&gt;OUROBORACULAR&lt;/i&gt; is a dance that talks. The creature has things to say. Seventeen performers, creating a unison with their thoughts and ideas, ask the dance to talk, in a personal and yet anonymous way. Hearing 10,000 voices without ever being distracted, we are still digging: turning up the soil, shaking our dirty containers, mining for words from the moves, letting language sediment instead of trying to get new words in.&lt;br /&gt; &lt;br /&gt; Slowly eroding and accumulating, &lt;i&gt;OUROBORACULAR&lt;/i&gt; is a sand mountain, or maybe seventeen sand mountains forming a sand sculpture, or maybe the sand snake eating its tail. It is very seductive to use metaphors. When everything that I can see changes you, when so much escapes being named, when what I say is never exactly what I do, when the sense my words make is always something other than what my senses sense, maybe we can just agree on the fiction, without giving up on the struggle. In between words something new appears. Like surfing: a whole lot of paddling and sometimes a wave.&lt;br /&gt; &lt;br /&gt; Initiation and Direction: Eleanor Bauer | Co-creation and Performance: Shiraz Amar, Eza Amin, Aurore d’Audiffret, Jennie Bergsli, Inez Borgenback, Molly Engblom, Anna-Maria Ertl, Sonja-Riitta Laine, Corinne Mustonen, Danilo Cesar Nascimento Alexandre, Morgane Nicol, Julia Nylander, Klara Sjöblom, Anna Skorpen, Alexander Talts, Klara Utke Acs, Miranda Wallmon | Choreography: All above in collaboration with The Oracle | Costume assistance: Pontus Pettersson, in collaboration with the performers and the DOCH costume storage closet&lt;br /&gt; &lt;br /&gt; 13-14 May, 2017&lt;br /&gt; &lt;b&gt;DOCH&lt;/b&gt; &lt;br /&gt; School of Dance and Circus&lt;br /&gt; Stockholm, SE&lt;br /&gt; &lt;br /&gt; " /><br /> <br /> <br /> <img src="https://payload.cargocollective.com/1/14/472667/9106525/universal-storage_670.jpg" width="670" height="363" width_o="5000" height_o="2714" src_o="https://payload.cargocollective.com/1/14/472667/9106525/universal-storage_o.jpg" data-mid="73298861" border="0" align="left" data-title="670 — 670 × 363"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106525/universal-storage_1340_c.jpg" caption=" &lt;br /&gt; (hold cursor over image to freeze slideshow, click image to advance)&lt;br /&gt; &lt;br /&gt; &lt;b&gt;UNIVERSAL STORAGE™&lt;/b&gt; &lt;br /&gt; &lt;br /&gt; &lt;i&gt;Universal Storage™&lt;/i&gt; is an afternoon power office party in the collective subconscious of the dancing mind. Thirteen performers give voice to the dance and dance to the voice of imaginary spaces unfolding. Like ratatatatakaboom, on conference call. The National School of Performing Arms is proud to present this investigation of the nature of thought in dance (as a process of movement following attention, and vice versus) in relationship to the capacities and challenges of language to express such thought. Or is it the other way around? Senses overlap and collide. Imagination and observation create hybrid poetics. Nascent thoughts are completed with the associated images in our memory spaces and the learned words in our smartphones. Predictive texts and unpredictable chorus lines disrupt the flow of power points and folding joints. Movement poetry aligns in spread sheets. If our dances could talk, what would they say? If the Universal Storage™ HQ office had eyes, what would it fantasize? Beyond all educated guesses, “I am a woman of space.”&lt;br /&gt; &lt;br /&gt; Choreography and Direction: Eleanor Bauer | Dance, Choreography, Text, and Performance: Ágnes Grelinger, Amalie Bergstein Nielsen, Andreas Haglund, Evita Tsakalaki, Irma von Platen, Jon Andreas Hoff, Kalliopi Siganou, Paolo Gile, Sara Grotenfelt, Tilda le Grand, Tobias Skjöld, Vivian Põldoja and Onur Agbaba | Music: Gert Østergaard Pedersen | Scenography: Signe Krog | Sound design: Signe Hendel Møller | Light design: Mads Eckert Hermansen | Production and Stage Manager: Sigurd Damgaard | Costumes: Merethe Bahn Trolle &lt;br /&gt; &lt;br /&gt; 9-14 March, 2017&lt;br /&gt; &lt;b&gt;DDSKS&lt;/b&gt; &lt;br /&gt; The Danish School of Performing Arts&lt;br /&gt; Copenhagen, DK&lt;br /&gt; &lt;br /&gt; " /><br /> <br /> <img src="https://payload.cargocollective.com/1/14/472667/9106525/5ff3aeee-dce5-4602-ba3d-8c8d7f9a8364_670.jpg" width="670" height="376" width_o="711" height_o="400" src_o="https://payload.cargocollective.com/1/14/472667/9106525/5ff3aeee-dce5-4602-ba3d-8c8d7f9a8364_711.jpg" data-mid="60562714" border="0" align="left" data-title="670 — 670 × 376"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106525/5ff3aeee-dce5-4602-ba3d-8c8d7f9a8364_711.jpg" caption="&lt;br /&gt; (hold cursor over image to freeze slideshow, click image to advance)&lt;br /&gt; &lt;br /&gt; &lt;b&gt;MEDIUM&lt;/b&gt;&lt;br /&gt; &lt;br /&gt; &quot;Now, I am going to blow up the Law, I will break up the truth with laughter. I refuse to explain but I disclose everything. ABORT ME IF YOU DARE. It hurts to punch the floor but I am trying to get the message across. How can I find words for the in-between parts, the disintegration and loss of form or reference. I try to fake it the whole time. The muse leaves my side, to wander astray someplace more interesting. One more secret: it’s beautiful when a group of people can hold together something uncertain. Without poking and prodding and demanding more, without provoking and oppressing the weirdness and softness, without reducing the complexity. I am a fucking package. I am one and many. Some teenage accident. Maybe even a sexual relationship with an eye. Looking for something to turn into art - when the real experience of what is happening is not possible to recreate, when the mess that is pouring in through my senses will never be tamed. I imagine authorship on the beach, on holiday, getting a tan maybe even a sun burn, spacing out, a lovely early retirement kind of atmosphere. What is there to appear in a world that hides itself in between what is not happening in front of my eyes? Did they, yes or no, use their wooden leg as a dildo? Those questions interest me. I am not a narrative animal. I never abandon sensation. There’s no end to the wind around my head.&quot;&lt;br /&gt; &lt;br /&gt; (publicity text, written with and by the performers, October 2015)&lt;br /&gt; &lt;br /&gt; Concept and direction: Eleanor Bauer | Written with, created with, and performed by: David Van Dijcke, Freek De Craecker, Johanne Schröder, Maarten Van Lancker, Rosie Sommers and Sabien Van Moorter | Special Thanks: Hakim Bey, Hélène Cixous&lt;br /&gt; &lt;br /&gt; 21-22 October 2015 &lt;br /&gt; &lt;i&gt;&lt;b&gt;Drama Gent&lt;/b&gt;&lt;/i&gt;&lt;br /&gt; KASK, Bijloke, Gent, BE&lt;br /&gt; &lt;br /&gt; " /><br /> <br /> <br /> <img src="https://payload.cargocollective.com/1/14/472667/9106525/Being-Robert-Plutchik---photo-by-Matthew-Skomarovsky-skomputer_670.jpg" width="670" height="478" width_o="670" height_o="478" src_o="https://payload.cargocollective.com/1/14/472667/9106525/Being-Robert-Plutchik---photo-by-Matthew-Skomarovsky-skomputer_670.jpg" data-mid="50656283" border="0" align="left" data-title="670 — 670 × 478"caption="&lt;br /&gt; (hold cursor over image to freeze slideshow, click image to advance)&lt;br /&gt; &lt;br /&gt; &lt;b&gt;Being Robert Plutchik&lt;/b&gt;&lt;br /&gt; &lt;br /&gt; &lt;i&gt;Being Robert Plutchik&lt;/i&gt; is the result of a four-week workshop with Eleanor Bauer and a group of KASK Drama Masters students and alumnae. Sharing the same starting points as Bauer's next project, &lt;a href=&quot;http://goodmove.be/MEYOUCYCLE&quot; target=&quot;_blank&quot;&gt;&lt;i&gt;Meyoucycle&lt;/i&gt;&lt;/a&gt; (me-you-cycle), which will premiere at Kaaitheater in Spring 2016 in collaboration with Ictus contemporary music ensemble, the piece and workshop is a deconstruction and reconstruction of musical performance genres: using the same ingredients of a musical or concert (song, text, music, dance, situation, fiction) but in a collective research on their performative forms, formats, and potentials. The research and performance is organized around the &quot;Plutchik Emotion Circumplex,&quot; a model for analyzing human emotions invented by psychologist Robert Plutchik in 1980. &lt;i&gt;Being Robert Plutchik&lt;/i&gt; looks at a spectrum of human emotions through the experiential and analytic lens of contemporary social life and how emotions can or cannot be shared and expressed today, including the effects of technology, social media, various therapies, and more. &lt;br /&gt; &lt;br /&gt; Concept and direction: Eleanor Bauer | Created with and performed by: Anjana Dierckx, Lieselotte De Keyzer, Linde Carrijn, Mathilde Strijdonk, Mourad Baaiz, Seppe Decubber, Yuri van der Hoeven | Special thanks to: Sandra Liaklev Andersen&lt;br /&gt; &lt;br /&gt; 12 February 2015&lt;br /&gt; &lt;i&gt;&lt;b&gt;Drama Gent&lt;/b&gt;&lt;/i&gt;&lt;br /&gt; KASK, Bijloke, Gent, BE&lt;br /&gt; &lt;br /&gt; 31 March 2015&lt;br /&gt; &lt;i&gt;&lt;b&gt;BAUER HOUR&lt;/b&gt;&lt;/i&gt; w/ Bob Plutchik and The Masters of Drama&lt;br /&gt; Kaaistudio's, Brussels, BE&lt;br /&gt; &lt;br /&gt; " /><br /> <br /> <br /> <img src="https://payload.cargocollective.com/1/14/472667/9106525/01-Parliament-without-words_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106525/01-Parliament-without-words_864.jpg" data-mid="49249920" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106525/01-Parliament-without-words_864.jpg" caption=" &lt;br /&gt; (hold cursor over image to freeze slideshow, click image to advance)&lt;br /&gt; &lt;br /&gt; &lt;b&gt;Parliment Without Words&lt;/b&gt;&lt;br /&gt; &lt;br /&gt; If language is what separates humans from nonhumans, what happens when we take it away? The purpose of a parliament without words is to close this gap between humans and nonhumans, to exercise our direct relationship to things as &quot;vibrant matter&quot; (borrowing the words of Jane Bennett) and to experience our own bodies as such, in order to look at and convene with our physical world in an intelligent and intimate way. In a &lt;i&gt;Parliament Without Words&lt;/i&gt;, perhaps things and beings are mutually affective and affected.&lt;br /&gt; &lt;br /&gt; A parliament's work creates and assigns values and meanings to material things outside and inside the parliament itself. What would happen in a parliament that relates to things not in terms of their names and the utility assigned them by humans, but as fellow members of the assembly? What would happen if those things had a voice in the conversation? The power of things as actants is happening without us, with or without our acknowledgement, with or without our giving them a voice, with or without our anthropomorphic empathy. But if we want to discover a new relationship with things, we have to start somewhere, however extreme. &lt;i&gt;Parliament Without Words&lt;/i&gt; is an experiment to see how we are changing and changed by things.&lt;br /&gt; &lt;br /&gt; In a festival that concentrates on the word, the choreographer and performer Eleanor Bauer launches a counter-movement: what lies behind the words? She sets up a &lt;i&gt;Parliament Without Words&lt;/i&gt; together with students from her current workshop at P.A.R.T.S. &lt;br /&gt; (&lt;i&gt;Kaaitheater&lt;/i&gt; brochure, 2011)&lt;br /&gt; &lt;br /&gt; Concept: Eleanor Bauer | Performers: Nestor Garcia Diaz, Pavle Heidler, Renan Martins de Oliveira, Siet Raeymaekers, Michiel Reynaert, Michiel Vandevelde | Co-production: PARTS | Thanks: Liz Kinoshita, Adam Weig&lt;br /&gt; &lt;br /&gt; &lt;br /&gt; 26-27 November, 2011&lt;br /&gt; &lt;i&gt;&lt;b&gt;Spoken World Festival&lt;/b&gt;&lt;/i&gt;&lt;br /&gt; Kaaistudios, Brussels, BE&lt;br /&gt; &lt;br /&gt; " /><br /> <br /> <br /> _________________________________________________________________ _________________________________________________________________ https://goodmove.be/ELEANOR https://goodmove.be/following/goodmove.be/ELEANOR Tue, 30 Dec 2014 19:31:09 +0000 ELEANOR BAUER | GOOD MOVE 9106520 <img src="https://payload.cargocollective.com/1/14/472667/9106520/01-ELEANOR-Paul-Mpagi-Sepuya_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106520/01-ELEANOR-Paul-Mpagi-Sepuya_864.jpg" data-mid="49233546" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106520/01-ELEANOR-Paul-Mpagi-Sepuya_864.jpg" caption=" photo © Paul Mpagi Sepuya" /><img src="https://payload.cargocollective.com/1/14/472667/9106520/02-ELEANOR-JJ-Tizou_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106520/02-ELEANOR-JJ-Tizou_864.jpg" data-mid="49233506" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106520/02-ELEANOR-JJ-Tizou_864.jpg" caption=" photo © JJ Tizou" /><br /> <br /> Eleanor Bauer's signature solo ELEANOR! is a humorous diatribe on the blur between artistic production and survival skills entangled in an artist's basic drives for money and recognition. In the place where self-promotion becomes artwork, selling and trading one's skills becomes selling and trading oneself, and diversity becomes sustainability, Bauer delivers a schizophrenic and side-splittingly critical portrait of the performing artist today as a "post-fordist art prostitute".<br /> <br /> Bauer situates her story within the lives and realities of the audience members, meeting each one individually and conducting a demographic survey of their professional lives, giving away or selling t-shirts with her name on them, explaining the economic benefits created by this efficient form of authorship and self-distribution...<br /> <br /> Each performance of ELEANOR! is unique to the time and place in which it is performed, ranging in length from 45 minutes to an hour, depending on the context and necessity of translation, as well as the mode of translation (live translation, translation by a brave volunteer from the audience, or a rehearsed double). Featuring an incisive lecture adapted from Portrait of the Artist as a Worker by Dieter Lesage, as framed by a detailed and rhythmic dance phrase rooted in the same frenetic behavior as described in the lecture, the originally concise twelve minute solo remains intact within the performance as a historical document of the exigent conditions that necessitated its creation. <br /> <br /> For past performance dates, see CV. <br /> _________________________________________________________________<br /> <br /> <br /> CREDITS<br /> <br /> <br /> Concept, Choreography and Performance <br /> Eleanor Bauer<br /> <br /> Costumes <br /> Eleanor Bauer<br /> <br /> Premiere<br /> "Young Americans," a Food for Thought series curated by Miguel Gutierrez for Danspace Project at St Mark's Church, New York, USA, January 2005 <br /> <br /> Special Thanks<br /> Miguel Gutierrez, Danspace Project, P.A.R.T.S.<br /> <br /> _________________________________________________________________ Eleanor Bauer's signature solo ELEANOR! is a humorous diatribe on the blur between artistic production and survival skills entangled in an artist's basic drives... https://goodmove.be/AT-LARGE https://goodmove.be/following/goodmove.be/AT-LARGE Tue, 30 Dec 2014 19:16:27 +0000 ELEANOR BAUER | GOOD MOVE 9106454 <img src="https://payload.cargocollective.com/1/14/472667/9106454/03-At-Large-Giannina-Urmeneta-Ottiker_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106454/03-At-Large-Giannina-Urmeneta-Ottiker_864.jpg" data-mid="49233433" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106454/03-At-Large-Giannina-Urmeneta-Ottiker_864.jpg" caption=" photo © Giannina Urmeneta Ottiker" /><img src="https://payload.cargocollective.com/1/14/472667/9106454/02-At-Large-Giannina-Urmeneta-Ottiker_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106454/02-At-Large-Giannina-Urmeneta-Ottiker_864.jpg" data-mid="49233430" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106454/02-At-Large-Giannina-Urmeneta-Ottiker_864.jpg" caption=" photo © Giannina Urmeneta Ottiker" /><img src="https://payload.cargocollective.com/1/14/472667/9106454/04-At-Large-Giannina-Urmeneta-Ottiker_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106454/04-At-Large-Giannina-Urmeneta-Ottiker_864.jpg" data-mid="49233434" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106454/04-At-Large-Giannina-Urmeneta-Ottiker_864.jpg" caption=" photo © Giannina Urmeneta Ottiker" /><img src="https://payload.cargocollective.com/1/14/472667/9106454/05-At-Large-Giannina-Urmeneta-Ottiker_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106454/05-At-Large-Giannina-Urmeneta-Ottiker_864.jpg" data-mid="49233436" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106454/05-At-Large-Giannina-Urmeneta-Ottiker_864.jpg" caption=" photo © Giannina Urmeneta Ottiker" /><img src="https://payload.cargocollective.com/1/14/472667/9106454/06-At-Large-Inneke-Van-Waeyenberghe_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106454/06-At-Large-Inneke-Van-Waeyenberghe_864.jpg" data-mid="49233437" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106454/06-At-Large-Inneke-Van-Waeyenberghe_864.jpg" caption=" photo © Inneke Van Waeyenberghe" /><img src="https://payload.cargocollective.com/1/14/472667/9106454/07-At-Large-Eleanor-Bauer_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106454/07-At-Large-Eleanor-Bauer_864.jpg" data-mid="49233439" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106454/07-At-Large-Eleanor-Bauer_864.jpg" caption=" photo © Eleanor Bauer" /><img src="https://payload.cargocollective.com/1/14/472667/9106454/01-At-Large-Eleanor-Bauer_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106454/01-At-Large-Eleanor-Bauer_864.jpg" data-mid="49233429" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106454/01-At-Large-Eleanor-Bauer_864.jpg" caption=" photo © Eleanor Bauer" /><br /> <br /> Pursuing the position of contemporary dance in the world at large, questions of whose dance, which contemporary, and what world come to the fore. The process and products of At Large investigate the existing and potential capacities of dance in a society of increased and horizontal information accessibility and a contemporary culture of over-productivity. When the world is a stage, At Large opens up the agency and perspective of the dancemaker by working in several media, platforms of visibility, and modes of productivity to chart and expand the various territories of dance today.<br /> <br /> In collaboration with performing artists Femke Gyselinck and Manon Santkin, videast Inneke Van Waeyenberghe, composer Gerald Kurdian, fashion designer Ada Rajszys, and various infiltrators throughout the process, Eleanor Bauer hosts<br /> At Large, a world inhabited by several perspectives and a field of research materialized in several components.<br /> <br /> At Large is a book, a song, a screensaver, a new dance fad, and a series of videos documenting existing social dance fads and phenomena, screened in the lobbies of the live performance.<br /> <br /> The live performance is a central node in a sprawling web of observation and production, the site of convergence at which the performers implicate themselves in the questions posed by At Large. Sliding between points of interest, connecting disparate frames of reference, transgressing spheres of relevance, the performers negotiate the persistent tropes of dance as art, entertainment, street culture, pleasure, communication, abstraction, identification, and self-expression. At Large confronts these recombinant histories in order to ask where we stand today, and of course, where to move next.<br /> <br /> For past performance dates, see CV. <br /> _________________________________________________________________<br /> <br /> <br /> CREDITS<br /> <br /> <br /> Initiated and Proposed by<br /> Eleanor Bauer<br /> <br /> Created and Performed by<br /> Eleanor Bauer <br /> Femke Gyselinck<br /> Manon Santkin<br /> <br /> Video<br /> Inneke Van Waeyenberghe<br /> <br /> Lighting Design<br /> Peter Fol<br /> <br /> Costume Design<br /> Ada Rajszys<br /> <br /> Original Music<br /> Gerald Kurdian & Board of Dance<br /> <br /> Production<br /> GoodMove vzw, Charlotte Vandevyver<br /> <br /> Coproduction<br /> Dance Theater Workshop (New York), Monty (Antwerp), WorkSpaceBrussels, Vooruit (Gent), Kunstencentrum BUDA, PACT Zollverein, and HAU Hebbel Am Ufer (Berlin), with the support of the Départs / European Commission (Culture program). Public support from the Flemish Community and the Flemish Commission Brussel.<br /> <br /> Extra Thanks<br /> Cherelyn Lavagnino and the NYU Tisch Dance department, Peter Lenaerts, Thibault Lac, and Blair<br /> <br /> _________________________________________________________________<br /> <br /> Pursuing the position of contemporary dance in the world at large, questions of whose dance, which contemporary, and what world come to the fore. The process and... https://goodmove.be/TRASH-IS-FIERCE https://goodmove.be/following/goodmove.be/TRASH-IS-FIERCE Tue, 30 Dec 2014 19:14:55 +0000 ELEANOR BAUER | GOOD MOVE 9106446 Music video by Eleanor Bauer, Heather Lang, and LEGS Media.<br /> <img src="https://payload.cargocollective.com/1/14/472667/9106446/01-HLEBVV-Heather-Lang_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/01-HLEBVV-Heather-Lang_864.jpg" data-mid="49233063" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/01-HLEBVV-Heather-Lang_864.jpg" caption=" photo © Heather Lang" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/02-HLEBVV-NadaZgank-183_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/02-HLEBVV-NadaZgank-183_864.jpg" data-mid="49233064" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/02-HLEBVV-NadaZgank-183_864.jpg" caption=" photo © Nada Zgank" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/03-HLEBVV-NadaZgank-186_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/03-HLEBVV-NadaZgank-186_864.jpg" data-mid="49233066" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/03-HLEBVV-NadaZgank-186_864.jpg" caption=" photo © Nada Zgank" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/04-HLEBVV-NadaZgank-185_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/04-HLEBVV-NadaZgank-185_864.jpg" data-mid="49233068" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/04-HLEBVV-NadaZgank-185_864.jpg" caption=" photo © Nada Zgank" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/05-HLEBVV-Ian-Douglas-7_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/05-HLEBVV-Ian-Douglas-7_864.jpg" data-mid="49233071" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/05-HLEBVV-Ian-Douglas-7_864.jpg" caption=" photo © Ian Douglas" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/06-HLEBVV-NadaZgank-195_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/06-HLEBVV-NadaZgank-195_864.jpg" data-mid="49233072" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/06-HLEBVV-NadaZgank-195_864.jpg" caption=" photo © Nada Zgank" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/07-HLEBVV-NadaZgank-193_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/07-HLEBVV-NadaZgank-193_864.jpg" data-mid="49233073" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/07-HLEBVV-NadaZgank-193_864.jpg" caption=" photo © Nada Zgank" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/08-HLEBVV-NadaZgank-194_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/08-HLEBVV-NadaZgank-194_864.jpg" data-mid="49233074" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/08-HLEBVV-NadaZgank-194_864.jpg" caption=" photo © Nada Zgank" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/09-HLEBVV-NadaZgank-196_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/09-HLEBVV-NadaZgank-196_864.jpg" data-mid="49233075" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/09-HLEBVV-NadaZgank-196_864.jpg" caption=" photo © Nada Zgank" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/10-HLEBVV-NadaZgank-198_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/10-HLEBVV-NadaZgank-198_864.jpg" data-mid="49233096" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/10-HLEBVV-NadaZgank-198_864.jpg" caption=" photo © Nada Zgank" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/11-HLEBVV-NadaZgank-200_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/11-HLEBVV-NadaZgank-200_864.jpg" data-mid="49233097" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/11-HLEBVV-NadaZgank-200_864.jpg" caption=" photo © Nada Zgank" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/12-HLEBVV-Ian-Douglas-5_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/12-HLEBVV-Ian-Douglas-5_864.jpg" data-mid="49233100" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/12-HLEBVV-Ian-Douglas-5_864.jpg" caption=" photo © Ian Douglas" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/13-HLEBVV-Ian-Douglas-6_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/13-HLEBVV-Ian-Douglas-6_864.jpg" data-mid="49233110" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/13-HLEBVV-Ian-Douglas-6_864.jpg" caption=" photo © Ian Douglas" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/14-HLEBVV-Ian-Douglas-2_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/14-HLEBVV-Ian-Douglas-2_864.jpg" data-mid="49233113" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/14-HLEBVV-Ian-Douglas-2_864.jpg" caption=" photo © Ian Douglas" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/15-HLEBVV-Ian-Douglas-3_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/15-HLEBVV-Ian-Douglas-3_864.jpg" data-mid="49233115" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/15-HLEBVV-Ian-Douglas-3_864.jpg" caption=" photo © Ian Douglas" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/16-HLEBVV-Ian-Douglas-1_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/16-HLEBVV-Ian-Douglas-1_864.jpg" data-mid="49233116" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/16-HLEBVV-Ian-Douglas-1_864.jpg" caption=" photo © Ian Douglas" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/17-HLEBVV-NadaZgank-187_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/17-HLEBVV-NadaZgank-187_864.jpg" data-mid="49233118" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/17-HLEBVV-NadaZgank-187_864.jpg" caption=" photo © Nada Zgank" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/18-HLEBVV-NadaZgank-188_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/18-HLEBVV-NadaZgank-188_864.jpg" data-mid="49233119" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/18-HLEBVV-NadaZgank-188_864.jpg" caption=" photo © Nada Zgank" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/19-HLEBVV-NadaZgank-184_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/19-HLEBVV-NadaZgank-184_864.jpg" data-mid="49233120" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/19-HLEBVV-NadaZgank-184_864.jpg" caption=" photo © Nada Zgank" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/20-HLEBVV-NadaZgank-189_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/20-HLEBVV-NadaZgank-189_864.jpg" data-mid="49233122" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/20-HLEBVV-NadaZgank-189_864.jpg" caption=" photo © Nada Zgank" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/21-HLEBVV-NadaZgank-190_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/21-HLEBVV-NadaZgank-190_864.jpg" data-mid="49233124" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/21-HLEBVV-NadaZgank-190_864.jpg" caption=" photo © Nada Zgank" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/22-HLEBVV-NadaZgank-191_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/22-HLEBVV-NadaZgank-191_864.jpg" data-mid="49233126" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/22-HLEBVV-NadaZgank-191_864.jpg" caption=" photo © Nada Zgank" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/23-HLEBVV-NadaZgank-192_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/23-HLEBVV-NadaZgank-192_864.jpg" data-mid="49233128" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/23-HLEBVV-NadaZgank-192_864.jpg" caption=" photo © Nada Zgank" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/24-HLEBVV-Thibault-Lac_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/24-HLEBVV-Thibault-Lac_864.jpg" data-mid="49233134" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/24-HLEBVV-Thibault-Lac_864.jpg" caption=" photo © Thibault Lac" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/25-HLEBVV-Thibault-Lac_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/25-HLEBVV-Thibault-Lac_864.jpg" data-mid="49233139" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/25-HLEBVV-Thibault-Lac_864.jpg" caption=" photo © Thibault Lac" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/26-HLEBVV-Thibault-Lac_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106446/26-HLEBVV-Thibault-Lac_864.jpg" data-mid="49233141" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/26-HLEBVV-Thibault-Lac_864.jpg" caption=" photo © Thibault Lac" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/27_670.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="https://payload.cargocollective.com/1/14/472667/9106446/27_2048.jpg" data-mid="76951639" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/27_1340_c.jpg" caption=" photo © Thibault Lac" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/28_670.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="https://payload.cargocollective.com/1/14/472667/9106446/28_2048.jpg" data-mid="76951640" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/28_1340_c.jpg" caption=" photo © Thibault Lac" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/29_670.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="https://payload.cargocollective.com/1/14/472667/9106446/29_2048.jpg" data-mid="76951641" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/29_1340_c.jpg" caption=" photo © Thibault Lac" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/30_670.jpg" width="670" height="893" width_o="1536" height_o="2048" src_o="https://payload.cargocollective.com/1/14/472667/9106446/30_1536.jpg" data-mid="76951642" border="0" align="left" data-title="670 — 670 × 893"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/30_1340_c.jpg" caption=" photo © Thibault Lac" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/31_670.jpg" width="670" height="893" width_o="1536" height_o="2048" src_o="https://payload.cargocollective.com/1/14/472667/9106446/31_1536.jpg" data-mid="76951643" border="0" align="left" data-title="670 — 670 × 893"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/31_1340_c.jpg" caption=" photo © Thibault Lac" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/32_670.jpg" width="670" height="893" width_o="1536" height_o="2048" src_o="https://payload.cargocollective.com/1/14/472667/9106446/32_1536.jpg" data-mid="76951644" border="0" align="left" data-title="670 — 670 × 893"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/32_1340_c.jpg" caption=" photo © Thibault Lac" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/33_670.jpg" width="670" height="893" width_o="1536" height_o="2048" src_o="https://payload.cargocollective.com/1/14/472667/9106446/33_1536.jpg" data-mid="76951645" border="0" align="left" data-title="670 — 670 × 893"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/33_1340_c.jpg" caption=" photo © Thibault Lac" /><img src="https://payload.cargocollective.com/1/14/472667/9106446/34_670.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="https://payload.cargocollective.com/1/14/472667/9106446/34_2048.jpg" data-mid="76951646" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106446/34_1340_c.jpg" caption=" photo © Thibault Lac" /><br /> <br /> The Heather Lang Show by Eleanor Bauer and Vice Versa is a double one-woman show: double the woman, double the show. These birds of a feather combine their multiple interests and talents to fashion a wildly comedic performance, inheriting from and spinning-off of ethics and aesthetics of D.I.Y., trash, drag, and pubic access television.<br /> <br /> In Trash Is Fierce, QVC infomercial meets spiritual talk show. Two unlikely partners in crime -- Witty Banteur, Public Intuitions Expert and Duané Readé (pronounced doo-wanna read-uh), Spritual Connector -- appropriate and repurpose everything from aesthetic trash to actual trash, from cultural garbage to personal baggage. Answering live calls from the audience during the show via their assistant Vanilla Heights (a barbie with an old Nokia cell phone strapped to her back), they connect audience members with their Spirit Products while promoting their original brand of merchandising and life philosophy entitled Destiny's Realness™. Revealing profound and absurd meanings and messages hidden in everyday things, they preach the gospel of how and why Trash Is Fierce.<br /> <br /> Eleanor Bauer and Heather Lang met while studying dance together at NYU Tisch, and continued to work together afterwards. While Heather was making her way in Broadway, acting, and commercial dance in New York and Eleanor was creating and performing contemporary dance and performance in Europe, they decided to come together to work on their common interests in comedy and performance. Meeting somewhere between their two worlds but belonging to neither, in 2009 they started working together on their own show, The Heather Lang Show by Eleanor Bauer and Vice Versa. They have performed episodes of "Trash is Fierce" at Tanz Im August Festival in Berlin, at American Realness Festival in New York, eXplore Festival in Bucharest, Bouge-B Festival at DeSingel in Antwerp, at Kaaistudios in Brussels, the People's Improv Theater in New York City, The Creek and The Cave in Queens, New York, andCity of Women Festival in Lubjana (feat. guest collaboration w/ Plenvm Ninja, the very fabulous Austrian baby of the renowned House of Ninja). <br /> <br /> A project with LEGS media / MilkMade was launched in 2013 to produce a series of Trash Is Fierce webisodes, and all that reached completion was that insane too-long theme song (scroll up for Realness), because the commercial scale speed and momentum of much higher paying gigs took over everyone's time and never allowed this tiny trashy cheap thing to get finished and released. And that, children, is how Trash Gets Fierce and remains Fierce Trash cuz it's Just A Thing In A Thing In A Thing-tha-Thing-Thing-Thinnng you can do yourself, make yourself, live and love yourself, imagine and project and Real-ize yourself, as Real Fierceness is and remains always in the Cunt of the Beholder, infinitely un-capturable and free, irrespective of anyone else's shine or sheen.<br /> <br /> <br /> For past performance dates, see CV. Music video by Eleanor Bauer, Heather Lang, and LEGS Media. The Heather Lang Show by Eleanor Bauer and Vice Versa is a double one-woman show: double the woman,... https://goodmove.be/A-DANCE-FOR-THE-NEWEST-AGE-the-triangle-piece https://goodmove.be/following/goodmove.be/A-DANCE-FOR-THE-NEWEST-AGE-the-triangle-piece Tue, 30 Dec 2014 19:14:21 +0000 ELEANOR BAUER | GOOD MOVE 9106439 <img src="https://payload.cargocollective.com/1/14/472667/9106439/01-AD4TNA-Bart_Grietens_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106439/01-AD4TNA-Bart_Grietens_864.jpg" data-mid="49232071" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106439/01-AD4TNA-Bart_Grietens_864.jpg" caption=" photo © Bart_Grietens" /><img src="https://payload.cargocollective.com/1/14/472667/9106439/02-AD4TNA-Reinout-Hiel_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106439/02-AD4TNA-Reinout-Hiel_864.jpg" data-mid="49232086" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106439/02-AD4TNA-Reinout-Hiel_864.jpg" caption=" photo © Reinout Hiel" /><img src="https://payload.cargocollective.com/1/14/472667/9106439/03-AD4TNA-Bart-Grietens_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106439/03-AD4TNA-Bart-Grietens_864.jpg" data-mid="49232087" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106439/03-AD4TNA-Bart-Grietens_864.jpg" caption=" photo © Bart_Grietens" /><img src="https://payload.cargocollective.com/1/14/472667/9106439/04-AD4TNA-Bart-Grietens_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106439/04-AD4TNA-Bart-Grietens_864.jpg" data-mid="49232088" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106439/04-AD4TNA-Bart-Grietens_864.jpg" caption=" photo © Bart_Grietens" /><img src="https://payload.cargocollective.com/1/14/472667/9106439/05-AD4TNA-Bart-Grietens_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106439/05-AD4TNA-Bart-Grietens_864.jpg" data-mid="49232090" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106439/05-AD4TNA-Bart-Grietens_864.jpg" caption=" photo © Bart_Grietens" /><img src="https://payload.cargocollective.com/1/14/472667/9106439/06-AD4TNA-Bart-Grietens_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106439/06-AD4TNA-Bart-Grietens_864.jpg" data-mid="49232091" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106439/06-AD4TNA-Bart-Grietens_864.jpg" caption=" photo © Bart_Grietens" /><img src="https://payload.cargocollective.com/1/14/472667/9106439/07-AD4TNA-Bart-Grietens_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106439/07-AD4TNA-Bart-Grietens_864.jpg" data-mid="49232092" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106439/07-AD4TNA-Bart-Grietens_864.jpg" caption=" photo © Bart_Grietens" /><img src="https://payload.cargocollective.com/1/14/472667/9106439/08-AD4TNA-Bart-Grietens_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106439/08-AD4TNA-Bart-Grietens_864.jpg" data-mid="49232093" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106439/08-AD4TNA-Bart-Grietens_864.jpg" caption=" photo © Bart_Grietens" /><img src="https://payload.cargocollective.com/1/14/472667/9106439/09-AD4TNA-Bart-Grietens_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106439/09-AD4TNA-Bart-Grietens_864.jpg" data-mid="49232095" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106439/09-AD4TNA-Bart-Grietens_864.jpg" caption=" photo © Bart_Grietens" /><img src="https://payload.cargocollective.com/1/14/472667/9106439/10-AD4TNA-Reinout-Hiel_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106439/10-AD4TNA-Reinout-Hiel_864.jpg" data-mid="49232096" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106439/10-AD4TNA-Reinout-Hiel_864.jpg" caption=" photo © Reinout Hiel" /><img src="https://payload.cargocollective.com/1/14/472667/9106439/11-AD4TNA-Bart-Grietens_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106439/11-AD4TNA-Bart-Grietens_864.jpg" data-mid="49232097" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106439/11-AD4TNA-Bart-Grietens_864.jpg" caption=" photo © Bart_Grietens" /><img src="https://payload.cargocollective.com/1/14/472667/9106439/12-AD4TNA-Bart-Grietens_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106439/12-AD4TNA-Bart-Grietens_864.jpg" data-mid="49232099" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106439/12-AD4TNA-Bart-Grietens_864.jpg" caption=" photo © Bart_Grietens" /><img src="https://payload.cargocollective.com/1/14/472667/9106439/15-AD4TNA-Bart-Grietens_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106439/15-AD4TNA-Bart-Grietens_864.jpg" data-mid="49232100" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106439/15-AD4TNA-Bart-Grietens_864.jpg" caption=" photo © Bart_Grietens" /><img src="https://payload.cargocollective.com/1/14/472667/9106439/16-AD4TNA-Bart-Grietens_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106439/16-AD4TNA-Bart-Grietens_864.jpg" data-mid="49232102" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106439/16-AD4TNA-Bart-Grietens_864.jpg" caption=" photo © Bart_Grietens" /><img src="https://payload.cargocollective.com/1/14/472667/9106439/17-AD4TNA-Bart-Grietens_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106439/17-AD4TNA-Bart-Grietens_864.jpg" data-mid="49232103" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106439/17-AD4TNA-Bart-Grietens_864.jpg" caption=" photo © Bart_Grietens" /><img src="https://payload.cargocollective.com/1/14/472667/9106439/18-AD4TNA-Bart-Grietens_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106439/18-AD4TNA-Bart-Grietens_864.jpg" data-mid="49232104" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106439/18-AD4TNA-Bart-Grietens_864.jpg" caption=" photo © Bart_Grietens" /><img src="https://payload.cargocollective.com/1/14/472667/9106439/19-AD4TNA-Reintout-Hiel_670.jpg" width="670" height="478" width_o="864" height_o="617" src_o="https://payload.cargocollective.com/1/14/472667/9106439/19-AD4TNA-Reintout-Hiel_864.jpg" data-mid="49232163" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="https://payload.cargocollective.com/1/14/472667/9106439/19-AD4TNA-Reintout-Hiel_864.jpg" caption=" photo © Reinout Hiel" /><br /> <br /> The audience sits on three sides of an equilateral triangle. In the middle, six dancers perform their circulation through a system of shifting tripartite symmetries. Inhabiting three-fold paradigms such as solid-liquid-gas, past-present-future, nature-society-spirituality, head-heart-hand, idea-material-form, or sensation-imagination-expression, the emergent relationships negotiate balance, tuning, order and entropy. Working on the 'invisible' principles governing matter and movement, choreographer Eleanor Bauer questions what we think we know about the body and space through concepts of energy both new and ancient. Hand-in-hand with original music by Chris Peck, lighting design by Bardia Mohammad, costumes by Ada Rajszys and a brilliant cast of performers, A Dance for The Newest Age (the triangle piece) brings dance to the fore and lets the triangle speak for itself in a crash course collision between antiquity and science fiction, fact and fantasy, hard matter and soft subjects.<br /> <br /> Why does form matter?<br /> <br /> The collapse of modernity made us aware of the shortcomings of any one all-encompassing world view and left us with three separate realms of understanding: science to demystify the material world, politics to organize the social world, and philosophy or religion to provide us with enlightening concepts. As if in response to the pastiches and hybrids of postmodernism that only affirmed our fragmented selves, the phenomenon of New Age emerged full of nostalgia for a pre-modern unity only myths are made of, reviving ancient wholistic practices and inventing new ones by taking leaps of faith between scientific, social, and spiritual meanings.<br /> <br /> Moving towards a yet newer age, what other, better alternatives can we conjure to think about humankind's ability to construct a world-view together, beyond relativism, past the irreverence of postmodernism, and without the one-world platitudes of New Age?<br /> <br /> Using the human body and its many registers of intelligence as its medium, choreography invigorates the intersection of material, social, and conceptual spheres. A Dance for the Newest Age (the triangle piece) builds on that: shaping the body through constitutive states of matter, performing thought-actions and constructing concept-structures, composing group dynamics with the use of shared imagery. Through immersion in several modes of sensing and making sense, A Dance for the Newest Age (the triangle piece) proposes dance as an "everythingness practice." Illuminating a spectrum of expressions through the prismatic body, careening around the Trammel of Archimedes, crumbling, inflating, melting and crystallizing, navigating the pleats of the seven-pointed star, the breadth of practices launch a cry that rings through the starry night, "everything comes: bring it on!"<br /> <br /> - Eleanor Bauer and Jeroen Peeters, 2010<br /> <br /> For past performance dates, see CV. <br /> _________________________________________________________________<br /> <br /> <br /> THE TRILOGY<br /> <br /> The triangle-tent-time trilogy talks about dance in terms of ways of being together and ways of making sense of the world from within and through the dancing body: (the triangle piece) practices being together physically as bodies of matter and energy, (the tent piece) practices being together socially, as subjects working towards the creation of a common, and (the time piece) practices being together psychically and spiritually, through shared awareness and intuition, connected through intangible and invisible means.<br /> <br /> The trilogy is rooted in an ontology of dance as a synthesis of many facets of experience and intelligence. The three pieces come from an interest to overcome separatist definitions of any form, thing, or phenomenon, moving toward holistic understanding by practicing perceptions of non-separation (between self and environment, self and other, subject and object, humans and non-humans, the visible and invisible, thought and action, matter and energy).<br /> <br /> Drawing from Bruno Latour's book We Have Never Been Modern, the trilogy adopts his challenge of the modern delineation of science, politics, and spirituality as three separated spheres of truth production. Each piece in the trilogy adopts one of these three corners of understanding at a time as a vantage point from which to look back at the tripartite whole. A Dance for the Newest Age (the triangle piece) works through scientific models of the visible and invisible world to organize the movements of many bodies as one, Tentative Assembly (the tent piece) emphasizes the political nature of choreography as an organization of people's movement together activated through the relationship between individual and collective, and Midday and Eternity (the time piece) approaches the spiritual within dance as a practice connecting singularity and universality, emphasizing "the dancing, not the dancer" as the driving force. Midday & Eternity explores how the individual understands the universal through action, intuition, and presence in the world within the mind-body-spirit complex.<br /> <br /> The trilogy also concerns and defines itself in time: A Dance for the Newest Age reconsiders the past as a kind of contemporary, Tentative Assembly negotiates the present through our engagement with each other in the here and now of live performance, and Midday & Eternity approaches the future by way of Eternal Recurrence, placing the dancing body's relationship to the future in its production of predictability, potential and continuity. The Midday that opens up to Eternity is the timeless center of a daily practice that connects at once past, present and future, engaging one's history and knowledge to continuously generate new futures by chipping away at the infinite possible realizations of the present. In a trilogy that also concerns itself with questions of what it is to be contemporary in relation to past and present knowledge, rather than searching for new or undiscovered territories in the untouched corners beyond the known, Midday & Eternity (the time piece) digs deep into what we know very well in order to discover what might have been hiding right under our noses all along.<br /> <br /> _________________________________________________________________<br /> <br /> <br /> CREDITS<br /> <br /> Choreography<br /> Eleanor Bauer<br /> <br /> Created with and performed by<br /> Eleanor Bauer<br /> Cecilia Lisa Eliceche<br /> Dolores Hulan<br /> Liz Kinoshita<br /> Thibault Lac<br /> Naiara Mendioroz <br /> <br /> Music<br /> Chris Peck<br /> <br /> Lighting<br /> Bardia Mohammad<br /> <br /> Dramaturgy<br /> Jeroen Peeters<br /> <br /> Costumes<br /> Ada Rajszys<br /> <br /> Production<br /> Caravan Production for GoodMove<br /> <br /> Coproduction<br /> Kaaitheater (Brussel, BE), STUK Kunstencentrum (Leuven, BE), Vooruit Arts Centre (Gent, BE), Kunstencentrum BUDA (Kortrijk, BE), ImPulsTanz Festival (Vienna, AT) <br /> <br /> With the support of<br /> the Flemish Authorities, the Flemish Community Commission of the Brussels Capital Region, and the DÉPARTS Culture Program of the European Commission <br /> <br /> Special Thanks<br /> Beth Gill<br /> Paul Laffoley<br /> Mårten Spångberg<br /> Anna Whaley<br /> _________________________________________________________________<br /> The audience sits on three sides of an equilateral triangle. In the middle, six dancers perform their circulation through a system of shifting tripartite...