Dance Techniques 2010

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300 Who’s Who Daniel Roberts grew up in Pittsburgh, Pennsylvania, and started playing the piano at the age of seven. He was piano accompanist at various ballet schools. He studied ballet and modern jazz at the CLO Academy in Pittsburgh then took a Bachelor of Fine Arts in Dance at the Ohio State University, with a specialization in performance and Labanotation. Roberts received a scholarship to the Merce Cunningham Studio in New York and apprenticed with the Merce Cunningham Dance Company (MCDC). He joined the company in 2000 and danced in a vast amount of repertory, including films about Cunningham (for example, in Merce Cunningham: A Lifetime of Dance in the reconstruction of Totem Ancestor). He left the MCDC in 2005 and taught Cunningham Technique at the Danish National School of Contemporary Dance in Copenhagen. He is currently rehearsal director for Danish Dance Theater. Daniel Roberts has taught the Cunningham Technique at The Place (London Contemporary Dance School), at the Royal Academy of Dance in London, at the National University of Arts in Korea and at various companies, dance schools and festivals in Europe, Russia, the U.S., and Asia. Theo Van Rompay has a Masters in Sociology (K.U. Leuven, 1978). He cofounded the arts center STUK in Leuven, Belgium, where he was director from 1978– 1986. Afterwards he worked for Kaaitheater in Brussels (1986–1987) and for the Dutch theater company Maatschappij Discordia, based in Amsterdam (1988). In 1989 he became director of Beursschouwburg (Brussels) and in 1991 program director of the international arts center deSingel (Antwerp). In 1994 Anne Teresa De Keersmaeker asked him to assist in setting up a new dance school. Since then he has been deputy director of Performing Arts Research and Training Studios (P.A.R.T.S.), a school for contemporary dance that opened in September 1995. He was cofounder (1982) and editor (1982–1991) of the performing arts magazine Etcetera. He was co-founder of the Vlaams Theater Circuit (1980) and later of the Flemish Theatre Institute V.T.I. (1988). He was a member of the V.T.I. board for twenty years, and from 2006–2008 served as president. In 2008 he was appointed by the minister of Culture to be a member of the Advisory Board for the Arts of the Flemish Community. Salva Sanchis is a choreographer and dancer based in Brussels who graduated with the first generation of P.A.R.T.S. in 1998. He has been choreographing his own work since then and presenting it across Europe. He co-choreographed with Anne Teresa De Keersmaeker the pieces Desh and A Love Supreme, and has been a guest choreographer for Rosas. He is also a guest teacher of dance technique and improvisation as well as research coordinator for the Second Cycle of P.A.R.T.S., and teaches dance technique in several other schools and companies in Belgium and abroad. Vera Sander, Prof., studied at the London Contemporary Dance School and the Theaterschool Amsterdam. Before developing her first choreographies as a soloist at the Cologne Danceforum, she danced with the Dansgroep Krisztina de Chatel, with Itzik Galili, and as a soloist at the Saxon State Opera Dresden, among others. She has worked as a choreographer, dancer, and teacher of contemporary dance since 1996. In addition to the invitations she receives to be guest choreographer throughout Germany and abroad, she is artistic director of the VeraSanderArtConnects dance ensemble. The artist has been recognized with several awards for her work, including the Cologne Dance Theatre Prize, the Choreography Prize Hanover, and the German Video Dance Prize. Vera Sander is director of the Centre for Contemporary Dance and professor for contemporary dance at the University for Music and Dance, Cologne. Sylvia Scheidl is a graduate of the Master of Arts program in contemporary dance pedagogy at the University of Music and the Performing Arts in Frankfurt. Her work focuses on movement research and body consciousness. She practices methods of body–mind integration such as the Alexander Technique, Body–Mind Centering, and ideokinesis, and investigates ways of using these in contemporary dance techniques. Supported by the Crespo Foundation, she led a model project at a children’s daycare center in Frankfurt in which she enabled teachers and children to access communication and movement through contact improvisation. She works as a freelance artist in her hometown of Vienna. Katharine Sehnert trained to be a dancer, choreographer, and dance educator from 1955–1963 with Mary Wigman in Berlin. In 1962 she cofounded Motion. From 1970–1974 she danced with the Folkwang Tanzstudio in Essen and assisted Pina Bausch. From 1974–1981 she taught in Frankfurt and in 1976 founded Mobile Frankfurt, which won a prize at the International Choreographer Competition in Bagnolet in 1978. She created productions at the Theater am Turm and held advanced teacher–training courses. Since 1982 she has worked as a dancer, choreographer, and educator in Cologne, which is where she also founded TANZRAUM as a creative center, and the Kontinuum group. She was the first winner of the Cologne Dance Theatre Prize in 1994. In 1992 she initiated the MultiArt—Künstler zu Gast im TANZRAUM series with regular interdisciplinary performances. She has been a freelancer since 2004, working on guest performances and regular seminars, and provided coaching for the A Mary Wigman Evening reenactment project by and with Fabian Barba at the K3 Kampnagel Hamburg. In 2009 she was awarded the City of Cologne Theater Prize for her life’s work. Irene Sieben counts Mary Wigman and Manja Chmièl among her most important dance teachers. She danced in the first independent ensembles of the 1960s (Gruppe Neuer Tanz Berlin and Motion), studied somatic learning methods, and has been a Feldenkrais teacher since 1990. In 1981 she cofounded Tanz Tangente Berlin. She has taught applied anatomy and the Feldenkrais method at the Universität der Künste Berlin, Faculty of Music, and has worked as a dance and movement research journalist since 1970. She has been a correspondent for Tanzdrama, ballettanz, Tanz–Journal, jetzt Tanz and is author of Das große Feldenkrais Buch (Hugendubel, with A. Peters), and co-author of Gesundheit, Lernen, Kreativität (Huber) and Wissen in Bewegung (transcript publishing). Sieben also coached Fabian Barba for his reconstructions of A Mary Wigman Evening at K3–Center for Choreography / Tanzplan Hamburg and at the fabrik Potsdam. Gerald Siegmund, PhD, is professor of dance and director of the Choreography and Performance program at the Justus Liebig University Giessen. He studied theater, English, and Romance studies at the Frankfurt am Main University. His research focuses on developments in contemporary dance and in postdramatic theater in the transition to performance and the visual arts. Books he has published include William Forsythe—Denken in Bewegung (Henschel) and Abwesenheit. Eine performative Ästhetik des Tanzes—William Forsythe, Jérôme Bel, Xavier Le Roy, Meg Stuart (transcript publishing). Martin Stern, PhD, studied sport science, chemistry, educational science, and philosophy at the Free University Berlin. From 2001–2007 he was a lecturer at the Institute for Sport Studies at the Humboldt University Berlin (Physical Education and Philosophy of Sports) as well as a Research Fellow at the ‘Cultures of the Performative’ interdisciplinary research center at the Free University of Berlin. Currently he is a guest professor of education science of sports at the Johannes Gutenberg University Mainz. His main research topics are sociological and anthropological dimensions of modern sport cultures, educational dimensions of sports, ethnographic approaches to new performance cultures and contemporary dance, and theories of the social body and gender. Publications include: Stil-Kulturen. Performative Konstellationen von Technik, Spiel und Risiko in neuen Sportpraktiken (transcript publishing). Patricia Stöckemann, PhD, is a dance author, dance journalist, dramaturg, was editor of tanzdrama magazine (1987–2003) and of tanzjournal (2003 / 04) and is a board member and program director for the Mary Wigman Gesellschaft. She has also taught dance history and theory at various academies, colleges, and universities, lectured throughout Germany and abroad, and curated dance exhibitions. Her research and publications focus on (modern) dance in Germany and she has published Etwas ganz Neues muß nun entstehen—Kurt Jooss und das Tanztheater (K. Kieser Publishing), among other works. Since the 2004 / 2005 season she has been dramaturg at the Tanztheater Bremen at the Theater Bremen, and since 2007 director of dramaturgy and member of the directorship of the nordwest / Tanztheater Bremen & Tanzcompagnie Oldenburg.
Who’s Who 301 Yoann Trellu is a multidisciplinary video artist from France who moved to Berlin in 2003. He is active mainly in the fields of dance / theater production, software development, DVD production, and visual arts. For ten years he worked with numerous musicians and performers in France, Germany, and the United States. Main dance collaborations include Motion–Lab, Wire Monkey Dance (USA), Howard Katz, Post Theater, and Ten Pen Chi (Berlin). Maren Witte, PhD, is a dance scholar and dramaturg. She studied literature and cultural studies in Freiburg, Berlin, and Berkeley (USA), where she also trained in various dance techniques such as Release Technique, Contact Improvisation und Tango Argentino. She completed her doctorate at the Institute for Theater Studies at the Free University Berlin with a work on perception and the effect of movement in the theater of Robert Wilson. Afterwards she worked at the University of Hamburg, contributing to a sociological study about tango and salsa. Currently she is a freelance dramaturg and dance researcher in Berlin specializing in dance and performance outreach methods. In 2008 and 2009 she developed an artistic research project on the topic of Grace—Über Anmut und Gnade with residencies and performances at the fabrik Potsdam, Tanzfabrik Berlin, Dock 11 Studios, and Schloss Bröllin. Since 2009 Maren Witte’s TanzScout project has been introducing non-expert audiences from outside Berlin to the city’s dance and performance scene. Nick Woods is a freelance journalist, interpreter, and translator living and working in Berlin. A graduate in French and history from Manchester University, he went on to study journalism and became an award– winning political correspondent. He was on the verge of accepting an offer to become a lobby correspondent at Westminster but instead opted for change and accepted an offer by the German embassy in London to come to Berlin and learn German at the Goethe Institut in 2003, a stay that sparked his interest in the city. After returning to the UK to take a simultaneous interpreting course (French / English), he returned to Berlin in 2004 and worked for two years as a foreign language assistant, at the same time improving his German and building up his freelance career. Apart from a one-year stay in Paris, he has been in Berlin ever since. In addition to the day job, he studies oriental dance, ballet, and Ashtanga Vinyasa Yoga. Gabriele Wittmann teaches dance criticism, dance history, and creative scientific writing at the University of Music and the Performing Arts in Frankfurt. She studied music and American studies in Paris and Hamburg, and since 1993 has worked as an independent critic for print media, radio (ARD), and television (ZDF / 3sat). She has also written many specialist articles for ballettanz, Tanzjournal, and the Gesellschaft für Tanzforschung Yearbooks, among others. Since 1996 she has taught advanced journalism training courses in Hamburg, Hannover, Remscheid, and Bremen, and researched the possibilities of the transfer between movement, language, and text in a series of workshops. Her publications include, ‘Vom Umgang mit Emotionen in der Tanzkritik’ in the Jahrbuch der Gesellschaft für Tanzforschung in 2006 (Lit Publishing) and, together with colleagues from related disciplines, Anna Halprin. Tanz—Prozesse—Gestalten (K. Kieser Publishing). Nina Wollny completed an intensive ballet education during her teens and continued her studies in the Netherlands at the Rotterdam Dance Academy, where she switched to modern and contemporary dance. After graduation she joined Anouk van Dijk’s company and since then has been one of the featured dancers in almost all of van Dijk’s creations. Currently she is one of the performers of Trust and Protect me, two of Anouk van Dijk latest collaborations with Falk Richter at the Schaubühne Berlin. Since 2006 she has been van Dijk’s artistic assistant. Wollny is considered to be the embodiment of the Countertechnique and is an enthusiastic teacher of it. Together with Anouk van Dijk, she is continuously developing the Countertechnique.
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Table of Contents 166 Sabine Huschk
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Foreword 9 dance scene (Freie Tanzs
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Introduction 11 Background and star
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Introduction 13 time, to go beyond
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Introduction 15 individual, sensed,
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Introduction 17 in Cologne), as wel
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Introduction 19 Supplementary Contr
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Introduction 21 Digital documentati
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Introduction 23 The years to come w
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Research Questions 25 Concept and I
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Research Questions 27 Teaching: Pri
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30 Background Influenced by Ruth Cu
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32 Interview Alan Danielson Intervi
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34 Interview contract. But what I w
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36 Introduction Maren Witte Introdu
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38 Historical Context Maren Witte H
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Alan Danielson — Humphrey/Limón
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60 Background Influenced by Alexand
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62 Interview Anouk van Dijk Intervi
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64 Interview Do you follow a stri
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66 Introduction Gerald Siegmund, An
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68 Introduction the central axis. T
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70 Historical Context Gerald Siegmu
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72 Historical Context affiliation,
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Anouk van Dijk — Countertechnique
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92 Background Influenced by Limón
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94 Interview Barbara Passow Intervi
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96 Interview When do you consider
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102 Historical Context Claudia Flei
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104 Historical Context to the Folkw
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106 Historical Context stretches an
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108 Concept and Ideology was mindfu
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110 Understanding the Body / Moveme
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116 Teaching: Principles and Method
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124 Barbara Passow — Jooss-Leeder
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Observation Techniques 127 methods
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Observation Techniques 129 comprise
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Observation Techniques 131 ends so
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Observation Techniques 133 body’s
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Observation Techniques 135 Literatu
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Working Somatically 137 Trisha Brow
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Working Somatically 139 Work on the
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Working Somatically 141 bible for g
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Working Somatically 143 Movement, h
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Working Somatically 145 research. C
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Dance Techniques and Lives 147 Patr
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Dance Techniques and Lives 149 Wou
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Dance Techniques and Lives 151 Wha
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Dance Techniques and Lives 153 Chor
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Dance Techniques and Lives 155 alwa
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Dance Techniques and Lives 157 depa
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P.A.R.T.S. — Contemporary Positio
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Daniel Roberts Cunningham Technique
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Daniel Roberts — Cunningham Techn
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198 Background Influenced by Non-tr
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200 Interview Gill Clarke Interview
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202 Interview more flow, become mor
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204 Introduction Gill Clarke, Franz
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206 Introduction 4. To contradict m
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208 Historical Context Gill Clarke,
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210 Historical Context Companies de
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212 Concept and Ideology Gill Clark
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214 Concept and Ideology Intent The
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Gill Clarke — Minding Motion 221
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232 Background Influenced by Lao Ts
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234 Interview Jennifer Muller Inter
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238 Introduction Yvonne Hardt, Vera
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240 Historical Context Yvonne Hardt
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242 Historical Context Relevant The
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244 Concept and Ideology Yvonne Har
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246 Concept and Ideology Space has
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248 Concept and Ideology Thus the t
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Page 297 and 298: Who’s Who 297 Ingo Diehl studied
Page 299: Who’s Who 299 Friederike Lampert,
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