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Author Archive Dino Spiri


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Foto: privat
ByDino Spiri

Parvathi Ramanathan

Parvathi Ramanathan is a dancer, researcher and writer who has early morning affairs with poetry. In her sensed and written work, she is curious about the body’s relationship with manifested and layered identities. She holds an MPhil in Theatre and Performance Studies from Jawaharlal Nehru University, New Delhi. Parvathi was a core member of Gati Dance Forum where she led the creation and publication of Tilt Pause Shift: Dance Ecologies in India

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Foto: Coila Leah Enderstein
ByDino Spiri

Nicola van Straaten

Nicola van Straaten is a South African artist, writer and performer who works across multiple mediums with a background in Western classical and contemporary dance. She completed an MA in Solo/Dance/Authorship in 2019 and currently works as a freelance artist in Berlin. She is concerned with the ways in which belief shapes practice and approaches the body/bodies as sites for confronting and transforming inherited imperial contracts. 

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ByDino Spiri

Protection Concept for Federal Competition Biennale Tanzausbildung 2022 Stuttgart at Theaterhaus Stuttgart

1.2.2022

The present Protection and Hygiene Concept of the Europäische Theaterakademie GmbH “Konrad Ekhof” Hamburg shall regulate the implementation of the Federal Competition Biennale Tanzausbildung 2022 Stuttgart under conditions of the SARS-CoV-2 pandemic including all necessary measures.

Preliminary note

The national competition is an educational event of the Ausbildungskonferenz Tanz – a consortium of the ten federal dance training institutions in Germany. From February 21-27, 2022, students of the final year classes will come together with teachers, workshop leaders, artists and scientists at the Theaterhaus Stuttgart. In workshops, discussion formats, thematic inputs, a symposium, and a supporting programme, students come into contact with artistic positions and perspectives that address their relationship to society in different ways. Participants will experience a variety of ways to act in and through dance, and will be invited to reflect on their own personal and professional issues by addressing the topics. This is an internal, closed event. Public audience is not allowed entry and does not participate.

All participants must meet the following requirements in order to take part in the national competition at the Theaterhaus Stuttgart

1.) All participants shall be either recovered, vaccinated (the double vaccination or recovery must not be longer than three months ago) or boosted. Universities are responsible for verifying sufficient status. Confirmation of the participants’ status must be received by 14 February 2022 at the latest.

2.) All participants will be obliged to take a so-called “BĂĽrger:innentest” (official free rapid antigen test) every day from 17 to 21 February 2022. The universities shall be responsible for documenting negative test results and confirming them in writing prior to arrival.

3.) All participants shall be tested every morning in a test centre before entering the Theaterhaus Stuttgart. Only those who test negative will be admitted to the Theaterhaus.

4.) Those who test positive will be reported by the test centre to the Stuttgart Health Department. Further participation in the Biennial and access to the Theaterhaus will then no longer be possible. Persons tested positive must immediately return to their place of residence by the quickest and safest route, have a PCR test done there and be quarantined until the result is known. The organisation as well as the costs incurred for the return journey must be borne by the respective institution.

Since this is an educational event with restricted, documented access (a closed event with participants known by name) according to the Corona rules of the state of Baden-WĂĽrttemberg, 3G with testing every 3 days (in compliance with the hygiene rules: washing hands, wearing a mask and documentation) is mandatory.

The concept was developed by the Europäische Theaterakademie GmbH “Konrad Ekhof” Hamburg (Peter Boragno and Dino Spiri) together with the curatorial team (David Russo, Susanne Treibel and Britta WirthmĂĽller), taking into account the legal situation and based on the current state of knowledge, and is constantly updated. As a result, it is adapted to the dynamic course of the Corona pandemic and the regulations in force. Peter Boragno is responsible for the implementation.

The aim of this part of the Protection and Hygiene Concept is the best possible protection of the participants as well as the employees of Theaterhaus against infection with the SARS-CoV-2 virus.

According to current knowledge, the virus spreads mainly by droplet infection or aerosols in the room air, but also by smear infection. Wearing FFP2 masks, spacing, contact avoidance, hygiene, and ventilation have proven to be effective infection control measures and shall be observed in all activities during the week in the Theaterhaus.

The 8th Biennale Tanzausbildung 2022 Stuttgart and its participants are guests at the Theaterhaus. All participants are asked to abide by the Corona rules and to follow the instructions of the Theaterhaus staff.

Measures

General
All participants will be tested every morning in a test centre (rapid test) and will only be admitted to the theatre with a negative test result. In addition, it will be checked beforehand whether the participants have either received a booster shot, or have been twice vaccinated or recovered in the last three months. Throughout the building, including the seating areas in the event halls, it is mandatory to wear an FFP2 mask (masks) at all times. Each participant will receive 5 masks.

The following rules apply in the venues for the different events

T2/ T3/ T4:
For training
– Masks must be worn during the training sessions.
– The minimum distance of 1.5 metres must be observed
– No showers are allowed in the locker rooms
– Ventilation will be adjusted to the number of people present during the times the rooms are occupied.

For workshops
– Masks must be worn during the workshops.
– The minimum distance of 1.5 metres must be observed
– No showers are allowed in the locker rooms
– Ventilation will be adjusted to the number of people present during the times the rooms are occupied.

For feedback rounds
– Participants must wear masks during the feedback rounds
– The minimum distance of 1.5 metres must be observed
– Ventilation will be adjusted to the number of people present during the times the rooms are occupied.

For presentations
– Masks must be worn during the presentations
– The minimum distance of 1.5 metres must be observed
– No showers are allowed in the locker rooms
– Participants watching from the stands must keep their distance and wear a mask.
– Ventilation will be adjusted to the number of people present during the times the rooms are occupied.

For symposiums
– During the symposium, actors do not have to wear masks when talking on stage, if the actors do not move and the distance requirement is observed.
– The minimum distance of 1.5 metres must be observed
– Participants watching from the stands must keep their distance and wear a mask.
– Ventilation will be adjusted to the number of people present during the times the rooms are occupied.

REHEARSAL STAGE AND GLASHAUS
For workshops
– Masks must be worn during the workshops.
– The minimum distance of 1.5 metres must be observed
– No showers are allowed in the locker rooms
– Windows must be opened every hour for 15 minutes
– Feedback rounds
– Participants must wear masks during the feedback rounds
– The minimum distance of 1.5 metres must be observed
– Windows must be opened every hour for 15 minutes

SPORTS HALL
For lunch and dinner
– While lining up at the food counter, the minimum distance must be observed and masks must be worn.
– The participants are also required to maintain the minimum distance at the tables.

General information
Disinfectant dispensers will be available in sufficient numbers for all participants.

The performance venues of Theaterhaus are equipped with displacement ventilation without mixed air content. This means the rooms will be supplied exclusively and independently with outside air. The ventilation will be operated at increased power for infection control reasons. The threshold at which forced ventilation becomes active is at a CO2 concentration of 700 ppm.

The foyer of the Theaterhaus does not have a mechanical ventilation system and is ventilated through open windows, doors and skylights. Additional louvre windows have been installed in the main entrance area to provide ventilation for the foyer.

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DAN CARABAS
ByDino Spiri

Jens Weber

Prof. Jens Weber was born in Berlin, where he completed his dance studies at the Staatliche Ballettschule Berlin. After graduation, he joined the ballet company of the State Opera Berlin. In 1998, he was appointed principal dancer by director Michaël Denard. Weber has performed with numerous international ballet companies, including Ballet Zurich, Queensland Ballet (Australia), Les Ballets de Monte Carlo and Morphoses in NYC. Additionally, he studied acting in NYC, Los Angeles and Berlin. During and after his active dance career, Weber taught ballet classes at the Architanz Studio in Tokyo, the Peridance Capezio Center in New York and the Center of Dance in Berlin. In recent years he has been engaged as ballet master at the Staatstheater Augsburg and the Theater Plauen Zwickau. He is a constant guest teacher with Theater Koblenz and the Friedrichstadtpalast Berlin. Weber completed his studies as a dance pedagogue at the Centre National de Danse in Paris and the Palucca Hochschule in Dresden. In Sept. 2021 Jens Weber was appointed Professor for Classical Dance at the Folkwang University of the Arts.

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Foto: privat
ByDino Spiri

Zuzana Žabková

Zuzana Ĺ˝abková is doing art, dance, and choreography in the frame of performance, video, and installation. She pokes failing utopias and really likes to move as a reptile. She works alone and together with friends on platform bjornsonova. Zuzana holds M.A. in Academy of Fine Arts and Dance Academy in Bratislava, Slovakia, M.A. program Choreography in Institute for Applied Theatre Studies in Giessen, Germany and postmaster in Collective Research program in Royal Academy of Art in Stockholm. 

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ByDino Spiri

Anne Juren

Anne Juren (b. 1978, Grenoble) is a choreographer, dancer, and Feldenkrais practitioner. She lives and works in Vienna. In 2003, she co-founded the Wiener Tanz- und Kunstbewegung association. Juren’s choreographic works and artistic research have been shown worldwide in theatres, festivals, museums, and art venues. Since 2013, Juren is a Feldenkrais® practitioner. Between 2014 and 2018, she was a member of the Artistic Committee of the Master Programme in Choreography at DOCH in Stockholm. Recently, she finished her PhD at the Stockholm University of the Arts under the supervision of André Lepecki and Sandra Noeth.

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ByDino Spiri

RĂ©my HĂ©ritier

Rémy Héritier was born in France in 1977. He lives in Paris. Since 2005 he has created successively Arnold versus Pablo (duet), Archives (sextet) domestiqué coyote (solo), Atteindre la fin du western (quintet), Dispositions (solo), Chevreuil (quintet), Facing the sculpture (quartet), une étendue (quartet), Percée Persée (duo), Another version and Here, then (with Marcelline Delbecq).In these different pieces, Rémy Héritier involves in his choreographic writing the reoccurrence of temporal, spatial strata in places, developing the depth of the past to reach the present. This archaeological excavation in a given context, his personal history of dance as well as that of his collaborators, enables him to shift towards notions linked to other disciplines such as intertextuality, re-enactment or the Third landscape, and thereby to convoke a new poetics of gesture.

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ByDino Spiri

Laurent Pichaud

Laurent Pichaud is a choreographer and dance performer, artistic director of x-sud  art/site (www.x-sud.info), and guest artist-researcher in the Dance department of Paris 8 University. Laurent’s process, both as a creator and researcher, centers around the use of choreographic gesture outside of traditional artistic or stage-oriented contexts. His work has two premier focal points. The first largely comprises site-specific practices and community projects created with non-dancer inhabitants. The second is his multifaceted collaboration with Deborah Hay, and by extension his interest in Dance history as a material and tool to study how composition functions for both documentation and transmission in the choreographic process. He has created the Choreographic Games with Rémy Héritier in 2013 as a platform to extend this two focal points.

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ByDino Spiri

Jasmine Ellis

Jasmine Ellis is a Canadian choreographer and film director based in Munich. A graduate of the Etobicoke School of the Arts, the School of Toronto Dance Theatre and the Codarts Rotterdam Conservatory, she has been a professional performer and choreographer since 2006. Ellis does commissioned work at a national and international level, and her free productions regularly receive funding. Her artistic approach is founded on a multidisciplinary combination of movement, body language, text and music, weaving together humour, vulnerability and familiarity to create unexpected worlds. Ellis is a prizewinning film director and artistic director at the Bad Posture Productions film company. As an active member of Munich’s freelance dance scene, she runs the Bad Lemons Project, which aims to foster a vibrant, collaborative community of dancers in Munich through professional training, exchange, and research projects.

www.jasminellis.com

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ByDino Spiri

Matteo Carvone

Matteo Carvone is an Italian choreographer and dancer based in Munich. He graduated from Milan’s DanceHaus in 2007 and has danced in and collaborated on creations by choreographers including: Alexander Ekman/Orionteatern, Jo Strømgren Kompani Oslo, Karl Alfred Schreiner/State Theatre on Gärtnerplatz, Marco Goeke, Robin Olryn, Michael Keegan-Dolan, William Forsythe, Emanuel Gat, BenoĂ®t Lachambre, Wayne McGregor, Ismael Ivo and many others. Carvone is in search of the kind of performance that brings together dance, voice and audiovisual installations in equal measure. His pieces have been performed at a number of places, including the Philharmonie in the Gasteig and the State Theatre on Gärtnerplatz in Munich as well as at the Venice Biennale. 

www.matteocarvone.com 

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