A sylphidic reverie in stunts with excessive attentiveness to the self.
TANZ is the third part of the trilogy: Recovery, Apollon, TANZ. The trilogy deals with notions of practice through training of different physical disciplines on stage-focusing on investigations of how the body is cultivated, shaped and transformed and on the transmission of experience.
TANZ takes early 19th century romantic ballet as a starting point. It uses the frame of a ballet class guided by Beatrice Schoenherr, the first ballerina who danced the Sacre de Printemps naked (John Neumeier, 1972).
The performers undergo a rigorous training in action ballet, the so called sylphidic studies. Learning how to use their skills in a genre of spectacle that deals with supernatural creatures, they use the articulation of the dancer’s body as a tool to penetrate space in order to gain knowledge about flying.
Through techniques of restraint, they collectively practice to govern the body and mind. An ephemeral world-provoking an imminent possibility of perfection by transforming the gross into the sublime and making the functional more than functional.
In an operatic set up brutal parodies of established images of excitement found in ballet, comedy and pornography are made in order to be watched from afar and close. This industry of gaze finds its translation in the work of a porn producer who documents the performance from within.
With an all-female cast of twenty to eighty years old performers who represent different dance backgrounds, TANZ poses the question what ‘dancing the lineage’ means and how to reconcile with tradition in the territory of the nonverbal and its relationship to beauty.
A sylphidic reverie in stunts with excessive attentiveness to the self.
TANZ is the third part of the trilogy: Recovery, Apollon, TANZ. The trilogy deals with notions of practice through training of different physical disciplines on stage-focusing on investigations of how the body is cultivated, shaped and transformed and on the transmission of experience.
TANZ takes early 19th century romantic ballet as a starting point. It uses the frame of a ballet class guided by Beatrice Schoenherr, the first ballerina who danced the Sacre de Printemps naked (John Neumeier, 1972).
The performers undergo a rigorous training in action ballet, the so called sylphidic studies. Learning how to use their skills in a genre of spectacle that deals with supernatural creatures, they use the articulation of the dancer’s body as a tool to penetrate space in order to gain knowledge about flying.
Through techniques of restraint, they collectively practice to govern the body and mind. An ephemeral world-provoking an imminent possibility of perfection by transforming the gross into the sublime and making the functional more than functional.
In an operatic set up brutal parodies of established images of excitement found in ballet, comedy and pornography are made in order to be watched from afar and close. This industry of gaze finds its translation in the work of a porn producer who documents the performance from within.
With an all-female cast of twenty to eighty years old performers who represent different dance backgrounds, TANZ poses the question what ‘dancing the lineage’ means and how to reconcile with tradition in the territory of the nonverbal and its relationship to beauty.
Sensory stimuli:
Strobe lights, loud music, rapid light changes
Content cues:
Injury, self-harm, nudity.
We recommend not to visit the show with children under 16 years old.
| Concept, performance,choreography | Florentina Holzinger |
| Performance by and with | Josefin Arnell, Renée Copraij, Beatrice Cordua, Evelyn Frantti, Lucifire, Luz de Luna Duran, Annina Machaz, Netti Nüganen, Suzn Pasyon, Laura Stokes, Steffi Wieser, Veronica Thompson, Lydia Darling, Jessyca R. Hauser, Florentina Holzinger |
| Video design, Live camera | Josefin Arnell, Jessyca R. Hauser |
| Sound design, Live sound | Stefan Schneider |
| Light design and | |
| Technical director | Anne Meeussen |
| Stage design | Nikola Knezevic |
| Stage assistant | Camilla Smolders |
| Technical assistant | Koen Vanneste |
| Dramaturgy | Renée Copraij, Sara Ostertag |
| Coaching | Ghani Minne, Dave Tusk |
| Music coach | Almut Lustig |
| Outside eye | Michele Rizzo, Fernando Belfiore |
| Theory, research | Anna Leon |
| Costume advisor, tailor | Mael Blau |
| Prosthetic, mask | Students of Wigs, Make-up and Special Make-up Effects for Stage and Screen, Theaterakademie August Everding (Munich), Marianne Meinl |
| Stunt support | Haeger Stunt & Wireworks |
| Stunt instructors | Stunt Cloud GmbH (Leo Plank, Phong Giang, Sandra Barger) |
| Management and | |
| International Distribution | Katharina Wallisch & Giulia Messia - neon lobster |
| A production by | SPIRIT |
| … |
| Co-produced by | Tanzquartier Wien (Vienna - AT), Spring Festival (Utrecht - NL), Theatre Rotterdam (Rotterdam - NL), Mousonturm (Frankfurt - DE), Arsenic (Lausanne - CH), Münchner Kammerspiele (Munich - DE), Take Me Somewhere (Glasgow - UK), Beursschouwburg (Brussels, BE) deSingel (Antwerp - BE), Sophiensaele (Berlin - DE), Frascati Productions (Amsterdam -NL), Theater im Pumpenhaus (Muenster - DE), asphalt Festival (Düsseldorf - DE) |
| Supported by | O Espaço do Tempo (PT), Fondation LUMA (FR) and De Châtel Award (NL) |
| Thanks to | CAMPO Gent, ImPulsTanz - Vienna International Dance Festival, Eva Beresin, Stefanie Leitner, Tanz-Archiv MUK Wien, Stimuleringsfonds Creatieve Industrie, Mochi Catering Vienna, Andres Stirn |
| Funded by | Cultural Department of the City of Vienna, Arts and Culture Division of the Federal Chancellery of Austria, Performing Arts Fund NL and Norma fonds NL |
| With the support of | Republic Austria Federal Ministry for Arts, Culture, the Civil Service and Sport, Section IV – Arts and Culture |
