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Choreografie<br />
Wen Hui<br />
Performer<br />
Wen Hui, Li Xinmin<br />
Wu Wenguang<br />
Dramaturgie und<br />
Videodesign<br />
Wu Wenguang<br />
Text<br />
Wu Wenguang<br />
Wen Hui<br />
Musik<br />
Wen Bin<br />
Zeichentrickfilm<br />
Hao Zhiqiang<br />
Lichtdesign<br />
Eduard Steenbergen<br />
Technik<br />
Jia Nannan<br />
Videotechnik<br />
Zou Xueping<br />
Ton<br />
Luo Bing<br />
Fotograf<br />
Richy Wong<br />
Produktion<br />
Living Dance Studio in<br />
Koproduktion mit Biennale<br />
de la Danse (Lyon),<br />
Centre National de la<br />
Danse (Lyon), in Kooperation<br />
mit Théâtre de la<br />
Cité Internationale, Festival<br />
d’Automne à Paris.<br />
Mit Unterstützung des<br />
HenPhil Pillsbury Fund,<br />
The Minneapolis Foundation<br />
& King’s Fountain<br />
und Borneoco | Amsterdam,<br />
Französische Botschaft<br />
in China und Festival<br />
Croisements. Vielen<br />
Dank an Estelle Zheng,<br />
Zheng Fuming, Tian Gebing,<br />
Berenice Reynaud,<br />
Cha Jianying, Zhong Su,<br />
Liu Heng.<br />
Realisierung<br />
in Zusammenarbeit mit<br />
dem Goethe-Institut und<br />
den Münchner Kammerspielen<br />
Living Dance Studio in Beijing was founded in<br />
1994 by the choreographer Wen Hui and the<br />
fi lmmaker Wu Wenguang as the fi rst independent<br />
contemporary company in the People’s<br />
Republic of China. In the meantime, LDS has<br />
its own rehearsal and performance venue, but<br />
it is not supported by the Chinese government<br />
– which is not really surprising when one<br />
considers the subjects of their pieces: Their<br />
pieces focus on examining the country’s<br />
recent history. »We live in an era of forgetting,«<br />
Wu Wenguang realized; however, he<br />
thinks the knowledge and understanding of<br />
the past is indispensable for a responsible<br />
society. The subject of the durational performance<br />
MEMORY is the Cultural Revolution,<br />
when Mao attempted to reeducate the population<br />
from 1966 – 1976. A new chapter begins<br />
every hour, which, proceeding in time, respectively,<br />
shows excerpts from Wu Wenguang’s<br />
documentary fi lm, MY TIME IN THE RED<br />
GUARDS, solemn operas about the revolution,<br />
and other propaganda material, in which Wu<br />
Wenguang himself tells stories and Wen Hui<br />
performs enigmatic and fascinating dances.<br />
And so an epic panorama is created that transcends<br />
the panorama’s time and transcends<br />
China. How self-determined can we be in our<br />
thoughts and actions at all, and to what degree<br />
are we the result of our socialization?<br />
Werkschau 9
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