PROJECTS

> DOCUMENTATION 2012

Using rehearsal clips and discussions, the project documentation offers insights into Hoffmann’s reconstruction and working process with the young dancers from Theater Bielefeld.

Theater Bielefeld / Reinhild Hoffman:
Auch

The choreographer Reinhild Hoffmann reconstructed her 1980 duet Auch with two dancers from the Theater Bielefeld ensemble. Auch was part of a three-part dance evening about German Tanztheater (dance Theatre), which also included the duet Effekte by Susanne Linke and Pixelmen by Henrietta Horn.

Hoffmann’s duet is danced by two women who interact on an equal basis. Duets were regularly ignored in the dance-theatre movement, but with Auch the public enjoyed a rare opportunity to witness this tradition on stage.

The premiere of Auch took place on 13 September 1980 at the Theater am Goetheplatz, Bremen. The second dancer alongside Hoffmann, who was also responsible for scenery and costumes, was Geta Bahrmann.

The performance was recorded by the Deutsches Tanzfilminstitut Bremen (German Dance Film Institute Bremen), where it is archived.

Film recording
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Film recording of the premiere 27 October 2012 at Theater Bielefeld. We are unfortunately only able to show an edited version of the evening, as the one-minute video of the premiere from Auch from 1980 cannot be shown on line for reasons of copyright.

Programme
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Programme for the premiere of Tanztheater (Dance Theatre) by Reinhild Hoffmann, Susanne Linke and Henrietta Horn on 27/10/2012 at Theater Bielefeld

Auch in graphic form
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The duet Auch, choreographed by Reinhild Hoffmann in 1980 and reconstructed in the winter of 2012 at Tanztheater Bielefeld, forms the basis for Alexander Katchko’s thesis of the same name. Using the theme of the duet as his basis, Katchko developed a dynamic visualisation of dance movements that were presented in book form. Both the book and the duet follow a narrative restriction: in the duet Auch, the space for the dancers and their movements is clearly defined; in the book, graphic haikus are used to make the dance movements legible.

ALEXANDER KATCHKO

Born in Kazakhstan in 1986, Alexander Katchko completed his degree in Design at the Bielefeld University of Applied Sciences, under the direction of Prof. Dirk Fütterer and Prof. Kirsten Wagner, in 2013. He gives breakdance workshops and works as a freelance designer focusing on conceptual design.

Credits
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Choreography – Reinhild Hoffmann
Dance – Hsuan Cheng and Elvira Zuñiga
Stage and costumes – Reinhild Hoffmann / Alfred Peter
Music – György Ligeti: Concert for violoncello, 1stmovement
Lighting – Peter Lorenz
Dramaturgy – Diether Schlicker
Training director and choreographic assistant – Susan McDonald and Michael Langeneckert
Evening performance management – Susan McDonald
Dance theatre co-répétiteur – Evelyn Knorre-Bogdan
Stage and costume assistant – Linda Siegismund
Technical direction – Reinhard Hühne
Technical production director / workshop director – Karl Franz
Knappe
Technical set-up – Rolf Mitschke

Stage management – Michela Saulig and Thomas Scharf
Sound – Thomas Noack, Christian Frees, Falko Heidemann and Michael Stellbrink
Video – Laura Lenz and Falko Heidemann
Masks and hair – Ute Köring
Costume department director – Thomas Wittland
Costume assistant – Edip Acikyol and Katja Menninger
Wardrobe mistresses – Katrin Mondorf and Silke Wille
Props – Anke Freyer
Paint shop director – Edgar Hahn
Premiere 27/10/2012, Stadttheater Bielefeld

A talk with deufert&plischke and Reinhild Hoffmann
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In a discussion with Reinhild Hoffmann about the production Auch, the artistic duo deufert&plischke talk about the differences and similarities between the original duet from 1980 and the reconstruction from 2012, as well as the historical dimension and time layers of the 30-year history of the piece.

The focus is less on the topicality of the piece and more on changes and shifts in the aesthetic perceptionand choreographic perspectives of dance material that–despite being virtually the same–creates two wholly different theatrical situations.

This reconstruction once again reveals that there is nothing to be learned about what was, is and will be by taking a linear look at the history of time-based art forms. Dance heritage cannot be recognised by analysing a historical time period, but, as in the case of Hoffmann’s work, is consolidated at the time of the performance itself. Time accumulates in the eyes of the observer.

Kattrin Deufert and Thomas Plischke (together the ‘artistwin’ deufert&plischke) live and work in Berlin. In den past 10 years, they have produced numerous theatre projects looking at the artistic production situations and the complex social dynamic and logistics of artistic processes. Their works reach beyond the limits of dance and theatre and focus on individual participation as well as everyday social life in artistic events. In their works, they arealways producing different artistic environments that emphasise everyday life by integrating and processing it fully in art.

The Anarchive Series (2008-11, including at the Kaaitheater Brussels, Kampnagel Hamburg, Tanzquartier Wien), the Emergence Rooms (2010 onwards, including atMumok Wien, Triennale Hassel and Kunstverein Stuttgart) and theEntropic Institute (2012 onwards, Berlin and Sofia)have emerged in recent years in close partnership with artist andtheorist friends (including Marcus Steinweg, Alain Franco, Jeroen Peeters, Sandra Noeth and Elke van Campenhout). All work series cover a wide range of themes ranging from the origins of Greek mythology (the myths of Arachne, Hermaphroditus and Medusa) to the most pressing questions of our time: how do we communicate in, and share, a society full of strangers?

deufert&plischke have been teaching their reformulation composition process for 11 yearsat art academies in Germany and abroad. In 2006 and 2008, they became artistic guest professors at Hamburg University (MA Performance Studies) und at JLU Giessen (Institute for Applied Theatre Studies). Since 2010, they have been professors for the BA Dance, Context, Choreography at the Inter-University Center for Dance Berlin.

Before meeting in Brussels in 2001, Kattrin Deufert completed theatre studies in Frankfurt am Main, worked as a freelance radio editor for Hessischer Rundfunk and obtained her doctorate degree at the FU Berlin in 2001 with her dissertation text on John Cage’s Theatreof Presence.

After training at P.A.R.T.S. in Brussels, Thomas Plischke worked as a choreographer and toured internationally – and successfully – with his three solo works and several group pieces.

Performance Dates
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  • 27 October 2012 | Theater Bielefeld
  • 04 November 2012 | Theater Bielefeld
  • 11 November 2012 | Theater Bielefeld
  • 24 November 2012 | Theater Bielefeld
  • 08 November 2012 | Theater Bielefeld
  • 19 & 20 December 2012 | Theater Bielefeld
  • 19 April 2013 | 4thHamelnerTanztheatertage, Theater Hameln
  • 19 July 2013 – as part of the symposiumDas Architektonische in der Architektur (EN: The Architectural in Architecture) | Gartensaal, Karlsruhe Schloss
  • 6 & 7 September 2013 | Mousonturm, Frankfurt am Main
  • 23 & 24 May 2014 | tanzhausnrw

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