Agrades é um cartaz de um espectáculo “Böse Körper” (“Evil Bodies”). do coreógrafo Christoph Winkler que estreou aqui em Berlim em 7.04.2011. Christoph Winkler is a choreographer with his ear to the ground. He is interested in philosophical debates, pop culture art theory and arts politics, and addresses all these subjects productively in his work as a choreographer thanks to his ability to work with and bring out the full potential of different dancers and their personalities. Whether working with ballet dancers, as he did in the late nineties or with dancers trained in breakdance and Hip Hop, his approach nearly always broadens the context of dance and incorporates different cultural milieus.
For this reason, Winkler has not developed an individual movement style or a recognisable aesthetic like other dancer-choreographers. The continuity in his work lies in his method; in the questions with which he approaches dance. In 2008 he began a series of pieces which on the one hand reflect the biographies of the dancers and, on the other, the economic and aesthetic development of the dance scene. This often came very close to home for the dancers and always remained an open puzzle: the dancers’ life – permanently under construction.
In 2010 and 2011 he worked on the trilogy “Böse Körper” (“Evil Bodies”). The title is deceptive; bodies aren’t per se evil. But the trilogy went on to consider the cultural portrayals of evil which play an important role in music, film and literature. In “Maldoror Amped”, then, U-Gin Boateng embarks on a tour of all the glamorous poses evil strikes in Afro-American entertainment culture. The piece for Martin Hansen, “Baader – Choreographie einer Radikalisierung”, ventures furthest into controversial territory, looking at the role of the terrorist organisation RAF in German history. This solo tells a story of self-glorification and empowerment. Texts and photographic documents enable the work to consider Baader’s historical and biographical context more closely, but it is also possible to enjoy the solo simply as a show.
The ambivalence generated by this method of suggesting interpretations but not dictating them is characteristic of Christoph Winkler’s work. He always juxtaposes dance against other contexts while also allowing it its own momentum. He offers ways of interpreting but never claims they are conclusive.
Independentemente do que a cima a Mena nos faz saber, apetece-me brincar. Será por isso que tanta gente enlouquece com a ida às praias, morrendo de calor, apinhando-se ao sol por um bocadinho de areia, vermelhos de raiva e de frustração e ilusão, e se deixam pelar? :-)) Descontentes consigo num mundo focado em grande parte na beleza exterior?
8 comentários:
Magnífica interpretação do tema! Ah! se pudessemos renovar-nos assim!!!!
Uma renovação/provocação que me leva a várias interpretações e pede explicações. A resposta ao tema não podia ser melhor.
Agrades
Agrades é um cartaz de um espectáculo “Böse Körper” (“Evil Bodies”). do coreógrafo Christoph Winkler que estreou aqui em Berlim em 7.04.2011.
Christoph Winkler is a choreographer with his ear to the ground. He is interested in philosophical debates, pop culture art theory and arts politics, and addresses all these subjects productively in his work as a choreographer thanks to his ability to work with and bring out the full potential of different dancers and their personalities. Whether working with ballet dancers, as he did in the late nineties or with dancers trained in breakdance and Hip Hop, his approach nearly always broadens the context of dance and incorporates different cultural milieus.
For this reason, Winkler has not developed an individual movement style or a recognisable aesthetic like other dancer-choreographers. The continuity in his work lies in his method; in the questions with which he approaches dance. In 2008 he began a series of pieces which on the one hand reflect the biographies of the dancers and, on the other, the economic and aesthetic development of the dance scene. This often came very close to home for the dancers and always remained an open puzzle: the dancers’ life – permanently under construction.
In 2010 and 2011 he worked on the trilogy “Böse Körper” (“Evil Bodies”). The title is deceptive; bodies aren’t per se evil. But the trilogy went on to consider the cultural portrayals of evil which play an important role in music, film and literature. In “Maldoror Amped”, then, U-Gin Boateng embarks on a tour of all the glamorous poses evil strikes in Afro-American entertainment culture. The piece for Martin Hansen, “Baader – Choreographie einer Radikalisierung”, ventures furthest into controversial territory, looking at the role of the terrorist organisation RAF in German history. This solo tells a story of self-glorification and empowerment. Texts and photographic documents enable the work to consider Baader’s historical and biographical context more closely, but it is also possible to enjoy the solo simply as a show.
The ambivalence generated by this method of suggesting interpretations but not dictating them is characteristic of Christoph Winkler’s work. He always juxtaposes dance against other contexts while also allowing it its own momentum. He offers ways of interpreting but never claims they are conclusive.
Independentemente do que a cima a Mena nos faz saber, apetece-me brincar.
Será por isso que tanta gente enlouquece com a ida às praias, morrendo de calor, apinhando-se ao sol por um bocadinho de areia, vermelhos de raiva e de frustração e ilusão, e se deixam pelar? :-)) Descontentes consigo num mundo focado em grande parte na beleza exterior?
"Acima", claro, e não "a cima".
Mena, se fosse assim tão simples renovar a nossa pele, já nenhuma de nós tinha rugas:-))))))))))
policromação e transfiguração.
lembra-me as caras várias e falseadas que apresentamos ao "público" ou ao que imaginamos ser o público.
~
O homem das sete peles, qual serpente que se renova. Uma estupenda metáfora.
Enviar um comentário