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tv   Arts.21 - Dancing against the current - Choreographer Sasha Waltz  Deutsche Welle  February 3, 2019 11:30pm-12:01am CET

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start for the round and there's no shortage of primitive. tribes about sixty minutes w. . every journey begins with the first step and every language but the first word emerged from the. rico is in germany to learn german why not learn with him it's simple online on your mobile and free. d w z e learning course nikos speak german mating see. anything. else has liberated contemporary dance by crossing boundaries germany's renowned choreographer is in constant search of new challenges and collaboration is with
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other artists. for twenty five years she's led her company and guests on journeys into the unknown. to the scottish back at us i mean the strength of dance lies in the freedom of its language but if i wanted to work in a way that was more linear i would just work in theatre. in the early one nine hundred ninety s. left new york for a newly reunified berlin since then has had one success after the other we set down with the energetic all. arthur for the talk about her rise from the french to major
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opera houses at her next job as courtis to director of the berlin state ballet. performance was used to your company twenty five years ago with your hands under it could you ever have imagined the international success you've had since africa. nonce entire noises and after in one thousand nine hundred three after the fall of the berlin wall and shortly after unification the central district of measure was a place of seemingly endless opportunities. we any opened our venue in this affinity or three years later in one thousand nine hundred six. before that we were like nomads wandering from one industrial space to the next and each time we started up a new studio as it isn't and far from the outset we toured internationally we toured the u.s. and our second or third year we traveled to india and toured a lot in europe peeling off. so right from the start travelling was part of our
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identity it was our aspiration and our concept. of also says first that nestles as us that we wanted to build bridges with our art and take it to different audiences to countries and cultures that also inspire our work. for the we're all in so in that respect our life today isn't all that different than it was twenty five years ago. isn't only gets me. though. was it's are. the sufi and zillah emitter once hosted meetings of left wing revolutionaries later it was used by the nazis then it was a fear workshop with its dilapidated charm and checkered history it was the perfect setting for such about this breakthrough production.
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an offbeat provocative production part of a trilogy on the absurdities of domestic life the company research for months in communist era housing complexes. initially zuch of arts danced along with her ensemble but she was always striving for new forms of expression and cooperation with other artists for her dance along with never enough. it's up last minute i know. ten seven i began downs lessons with one teacher i started taking classes from the age of five and the teacher i was with the age of twelve had studied under mary whitman so i have a very very deep connection to german expressionist dance kind i just got up but it
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didn't really influence my decision to start dancing professionally because at the time i wanted to pursue a career in the visual arts. it was only three my discovery of post modern dance and contact improvise ation and all of these a consciousness techniques that i developed an interest in studying don't. this and . intricate. in the life i love you generally don't produce strictly narrative pieces it's not dance theatre which some critics hold against you. they say your work is to associate ivar serial or. are you bothered by such criticism that isn't a critic. because i know to be honest i can't remember reading such reviews and normally i don't read reviews anyway. i see get on their air ferial dimension that is accessed through association is very important to me and in our communication with the audience. i think that's purely one dimensional way of
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saying just one thing and everyone understands the same thing i find that boring. through. it has to be something that speaks to each individual in a unique way. the touches something deep down and each person in the audience. but it has to be entirely free. of us with downsize that's when the work becomes profound as it does when it touches on the mystery and psyche or the money and that doesn't happen if you're simply telling a linear story. involves developed one of the most significant productions kerber during her five year stint as courtis to director of berlin's shall be in a theater it's an exploration of anatomy that delves into every aspect of the human body. time and again the company conjures images that sear
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themselves into the viewers memory like a nightmare. at the same time vault isn't afraid of venturing into more abstract territory in her piece for all and she takes dance back to its origins in ceremonial rituals. while her early works were wild her later choreography is feel more crafted for a three hour tour she transforms dancers into animalistic creatures and explore social issues like power and helplessness freedom and control. your mother was a gallery astin your father an architect so you may have inherited your talent for strong visuals from the one side but space has also always played a key role in your work it's very central. what do you look for in a space could you imagine staging a production for example at the building site of berlin's new international airport through coffin solution. your own. autumn he asked buildings
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eyes are certainly intriguing spaces and we've often rehearsed building sites it is the jewish museum had only just been completed it was still empty well the collection hadn't yet been installed and the boys had usually we perform at that intermediary moment before the space assumes the function it was designed for so before the exhibit moves in and spun off i was get excited because it's really a moment that breathes life into a space it's a real integration. by it that i came really clear to me with our work for balinese noiselessly on the heart of the space had this incredible energy that had been abandoned for so long and then undergone twelve years of reconstruction. on the spot so it was intriguing for me to envision what it would become and to awaken at a life of dance just as i'm deal but what does tensors. as a device be for example we focused on the cult of the dead in a room that would display the past of queen after t.t.
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it will cause the noise in the same house as a large injection collection and that's why it had a lot of research on ancient egypt if you actually see it on it would get on to so it also says inspiration not just the building in the architecture such it's the site in its entirety that shows me how to put a space in motion that all moved on the vehicles at the me i am twenty thirteen the company was invited to kolkata then calcutta to cap year of cultural exchange between india and germany. the production was staged in the courtyard in wings of an old private palace dating from colonial times. such about's collaborated on a project with the indian choreographer apart miniature tour and her ensemble.
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sun's out was out of the project in kolkata was very unusual it was an old palace so naturally a different way of telling stories emerged because the rooms had simply been sealed off and there was this life that had taken place previously as have time it stood still like a fairy tale when everyone's fallen into a deep sleep and time goes on and the pictures on the mall fade to black and dust settles everywhere on to papers on the bed it was really a very interesting experience. having noise all across without a record of calling to a new genre the choreographic opera it incorporates elements of contemporary dance into operatic stage productions but it treats all parts as equals the music the dancers the singers in all immersing art form what appeals to you about working on the stages of major opera houses and institutions. for theater that's why the.
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film misfires and then when told of how it was a great experience for me to be able to choreograph a body of people as a whole i and then of course in court. so it's not about the dancers and a choir and some lists anymore but about the group who. comes and becomes an entity and you can't really identify who is doing what and i extended that idea and began working with august recess so that they also start moving start dancing so that the orchestra would also become run body once you can achieve an amazing dynamic in a room where sound literally moves. then clung cease. fire. her.
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many of the world's major opera houses were now open to her in paris rome tokyo and berlin. she would oversee the entire stage production managing to transform even the unwieldy medium of opera and give it her own signature. you said you often look for female protagonists in opera to medea was one of those how did you deal with her character. she is usually condemned as the barbaric child murderer. in the. production coincided with the case of a mother here in germany who was on trial for murdering her children what approach did you take for the piece medea. it's been this i've seen as a as
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a as bond think well i think she's a very interesting character but she's also very ambivalent i wanted to take time to think about her intensively without judging. by now just imagine at what point is a woman capable of killing her children what extreme pain or despair do you have to experience to reach that point as a. so they since high point of hall. i found it very difficult to put myself in that position and direct the production. of course i had to imagine it and be part of it which at times was unbearable. it's a few and a it was really hard to give myself over to it. on fund as . clients of the.
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midair is one of the best known characters in greek mythology she famously helped jason and the argonauts retrieve the golden fleece jason binn married her only to later leave her for another woman the daughter of the king crayon medea took revenge by killing crayon his daughter and her own two children to eat. in this production the children whose archibald and her husband were part of the cast further intensifying the emotions felt by their mother. who became necessary for the children it was like playing it was a great experience for them they learned all the songs and the wonderful thing about theatre is that it is a lot like playing we play day and then we all get up again. but again in the mark with your children more often with you during productions and while traveling or on
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tour and the dancers were with you to. get up by it was like one big family for you also for me if you visit. a visitor and the tourist i always had babysitters with me. of the but they did spend a lot of time with the dancers during rehearsals for. intense and and when they were dancing too they were just part of the cast they didn't get any special supervision oil all know i always tried to have them with me so i never forced them to come so i always asked if that's what they wanted one but i just wouldn't see enough of the children otherwise because we spent a lot of time working at the theaters and were often out in the evening. out of obviously we've tried to strike a balance. but fortunately both the children love dancing and singing and go into the theater and playing theater. so it seems that passion has been
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passed on to them. is their life after but. you have invested a lot of time in promoting young talent start you have the children's dance company . time company you know you've also been involved in dance in schools how important is that to you. the this this is. yeah it was as is. my interest in children stance i actually came with my first child last night. elf last little i got on a workshop at a school and it grew from there that's what they love either and they couldn't help busy i found it more and more interesting as i realized how important our interest particularly for children approaching puberty and then couple interacting with other people's bodies with their own bodies their own self-image stuff because you're very much confronted with yourself in this process because you're working in a group of lads if you learn a lot about group dynamics you get
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a new spatial awareness how do i move within a room how do i stand in relation to somebody else i'm. actually a great help in everyday life it's not that everyone needs to become a dancer it's about learning to live in your own body to feel your body and to feel at home when your body. is. holding up after. the. last year you yourself danced again here at the ready as is tim for the project sooner and. do you miss dancing would you like to do it more often. but. anywhere on the i love dancing on stage but i can't do both if i'm choreographing a big piece i can't be on stage myself as wow that's just the way it is but if i can dance for special projects now and then i'm happy and. out of work it's been a pleasure. one of those special projects to work on or listen it offers dancers
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and artists from various parts of the world scope to interact and explore current political and social issues through art an opportunity for vowels to explore and improvise to. get them on a stick at the you know passing on a growing number of pieces to outside companies including some abroad where your dancers oversee the rehearsals and if there is this an opportunity to release the ensemble to work independently of you align our bite you can garden is. yes this is a new branch of my work you could say. i think it's good for experienced dancers to
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pass on what they know and that these compositions continue to live on and the younger generation feel it and said that many dancers who pass on works continue to dance themselves i think it's good to give others the opportunity to be involved but it becomes like a whole new production you think you just passing something on but that's not actually the case and what our it's our county. i usually do a workshop of the dancers where i go through the entire piece as it's intended with all the moves so that i know what it's all about where these boys in it intends and that's not just that i can't do that a lot. but it's exciting to pass something on and watch it take on a new life on the scene because that noise leading. in the spring of this year that half of the live view in lisbon performs national bounces piece to. the dancer spent five weeks with her sing that shoebox
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then turned up to add the finishing touches. to of her experience dancers had overseen all the rehearsals. from israel. then cloudy osho others from portugal so it was their job to help the dancers find their own style rather than just copying certain moves suddenly the two were working as equals alongside their longstanding boss i think it's working relation of many years and the personal relation also you know so. i think in that case gives a lot of trust like she gave a responsibility to hand over the piece and she gives a trust and also we have been working with them for five weeks so we can actually we know them better than her in this situation so it's a it's a good thing the two still stay. in communication with each other for certain things and then something she comes and she wants to bring it from the outside more
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her own or her own the sensations and smell and to put something on top of what we brought but it's it's a long time collaboration so we are communicating in a very natural way and i truly happy mice i still see things differently sometimes and i pass on the specific details that are important to me that seasoned and also i know that the dancers i've chosen are very precise and that i can trust them and so far it's worked very well touch wood and there's been no problems it's been i enjoy being able to let go and step back a bit the end of the piece takes on a life of a time and it's not a fair. creation grows and moves away from a back. when yet no matter then let's talk about your new production exodus which you did for the twenty fifth anniversary of your dance company. exit the exodus from the greek both in the sense of departure and escape what led you to
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this idea. of. big it was this idea of fleeing from more scraping from side trying finding a way out is that obviously we associated on the one hand with the bible and the accidents of the israel lights from egypt. but when you're in greece for example you see it written in every subway station many clubs and bars have adopted the name exodus. fascinated me and that's after i decided on the one hand. you have this idea of a group that's running away their corporate fleet leaving one place and moving somewhere else in. it on this and i gather this process that takes place more in the mind. of the austin couple when all step out of your body into another dimension and to this techno trance or ecstasy.
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techno ixtapa less gets very much about a group experience it includes going to and past the point of exhaustion what the audience. and so that's like a journey to. a journey that last two and a half hours involving captivity then finding a way out and escaping it raises questions such as what we're fleeing from and where to exodus is intense and heavy going and for now at least it will be the last production that sasha about stages with her company. she will remain the official director but she will leave the body as this dame it will continue as a production and performance venue for the company but she now has a new position she'll become the first woman to head up the highly traditional berlin state ballet. recitals nandan in twenty nineteen you'll take over as artistic director of the berlin state ballet alongside johann assume
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and are you excited maybe a bit apprehensive. now there's no cause that also wrong to start taking on the state ballet is certainly a major challenge so i've been preparing for it for two and a half or nearly three years i think. it's a very long process and yes i want to actually stop a job until two thousand and nineteen common. there were initially huge protests over the decision to appoint a contemporary choreographer to co-direct the state ballet the traditional dancers were not happy but lots of arts had actually worked with the state ballet before writing a solo piece for its former artistic director of light in their mother calls to great acclaim. these angry protests have now seen just. one thing is clear taking over the state well a rush of angst is biggest breakthrough today and a huge challenge. this is for ten times that all if i think it's
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a great opportunity for dance in general to explore these extreme positions of class or upper lip booklets books are on the one hand to really preserve classical ballet and the whole history and to stage classical productions that are very high level because one of the island's ited i don't have a hand to have contemporary choreography is what the contemporary language with all that darius the sheet leesten all the different ways of using the body. again and so creation ensemble that is capable of working with both these extremists. is extreme it's definitely a fascinating project. so this isn't into some support act. is written gather enough from i would like to end by asking you what comes to mind when i say. borders. also the challenges we face today yes no irreality to be as free as children now i mean.
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our brains. really tense learning so quickly i don't know ninety percent or ninety five percent of the top class.
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start february eighteenth d.w. . this is a news live from berlin pope francis begins and historic trip to the united arab emirates it's the first ever visit by a pope to the arabian peninsula the concept hopes to improve christian muslim relations officials of both face freedom and here. also coming up donald trump warns that sending the military into venezuela is an option for him his comments
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