Inhabitants in Berlin, Tel Aviv and New York were invited to write letters to dance. The letters were not only be published in a single volume but were also used as material for three participatory choreographies created by deufert&plischke.
For the second time in the TANZFONDS ERBE initiative, Reinhild Hoffmann was passing on one of her choreographies to a new generation of dancers. This time, Staatstheater Braunschweig was restaging her 1991 piece Zeche Eins.
The first part of the three-part Stravinsky evening Frühlingsopfer (Rite of Spring), Wind Von West was reconstructed with dancers from the Folkwang University of the Arts and the Julliard School in New York.
Reinhild Hoffmann’s 1980 choreography Auch, in which two women dance a duet on a fully equal footing, caused a sensation when first performed. Hoffmann restaged the production at Theater Bielefeld herself.
In the 1990s, dance in the German state of Hesse and the country as a whole was heavily influenced by Rui Horta and his company SOAP. Tanzcompagnie Gießen restaged two of Horta’s works with Horta himself as director.
Can dancers' bodies be archives? In his documentary The Body as Archive, the filmmaker Michael Maurissens goes in search of the answer, focusing on dancers as the preservers of choreographic knowledge.
The Berlin-based choreographer Martin Nachbar reproduced Simone Forti’s piece Sleep Walkers (aka Zoo Mantras). An extensive supplementary programme also provided a methodical and historical foundation for the current examination of the relationship between humans and animals.
The ballet company at Saarländisches Staatstheater is reconstructing Gerhard Bohner’s 1971 work The Tortures of Beatrice Cenci, described by the FAZ newspaper as “Germany’s most successful post-war ballet”.
Scandal is the reason most people know about this 1920s dance icon, but Anita Berber was also an international star with great ability. This festival by and with MS Schrittmacher was dedicated to Berber as a dancer.
Angela Guerreiro investigated the connections between German contemporary dance and the Judson Dance Theatre in New York. Dancers, choreographers, students, teachers and experts came together for the six-day symposium.
Jochen Roller’s online-project is dedicated to the choreographer Gertrud Bodenwieser who emigrated to Australia in 1938. It features reconstructions, archive material and reports by contemporary witnesses.
Working with her eight dancers, the composer Sven Kacirek and a ‘chor de ballet’, Antje Pfundtner devoted herself to the images inherent in The Nutcracker, one of the most famous works in Western dance history.