Saw Wes Anderson’s Moonrise Kingdom today with Anna, oh what a treat! I could see it again straight away.
12 hours Thursday Berlin to Bregenz by train, one night at Landestheater Vorarlberger, seeing Dasniya and Jo perform in the Stravinski work they spend two months creating, much yellowness and shibari, after-show party of Viennese sausage and some delectable pancake-y stewed plum lusciousness, 2am dinner in the Austrian pig-hunting lodge they were staying in, falling asleep, getting up and all stumbling off at 11am, departures at the train station, then off to Zürich for me, reading by the river in the café I visit once every four years, then with Anna for our first proper, more than an hour seeing each other since the last time I lived in this city. Yes, that long ago.
Tomorrow a very hideously early rising, to be at the Hauptbahnhof by 4:30am catching a train to Lindau, and from there across the Bodensee to Bregenz. One night there, and westwards to Zürich for a couple of days to see properly darling Anna Tenta, and then back here by plane. A sort of holiday made possible by what’s happening in Bregenz.
The past months since Vienna, Dasniya has been rehearsing with Jo Siska for a performance that premieres tomorrow at Landestheater Vorarlberg, a staging of Die Geschichte vom Soldaten, with music by Stravinski. She dyed her hair especially yellow for this, kind of a mustard gas theme, matching the costumes. Much shibari also, and pointe shoes, and army boots.
Die Geschichte vom Soldaten
Musik von Igor Strawinsky
Text von Charles Ferdinand Ramuz
Dirigent: Benjamin Lack
Regie und Choreografie: Dasniya Sommer & Jo Siska
PREMIERE: Donnerstag 4. Oktober 2012,
19.30 Uhr, Grosses Haus
Spieldauer. 75 Minuten, keine Pause
Weitere Vorstellungen: 18/10, 25/10, 13/11, 24/11, 12/05, 22/05
Im Tausch gegen seine Geige erhält ein Soldat während seines Urlaubes ein Buch, in dem die Zukunft schon geschrieben steht und mit dessen Hilfe er ein reicher Kaufmann wird. Er wird jedoch den Klang seines Instrumentes vermissen und feststellen müssen, dass ihn der Reichtum allein nicht glücklich macht. Als er seine Geige aber später mit List bei einem Kartenspiel zurückgewinnt, wird ihm der Klang des Instrumentes helfen, eine erkrankte Prinzessin zu heilen. Der Preis dafür ist, dass er seine Heimat und seine Familie nicht mehr sehen darf. „Man kann zugleich nicht der sein, der man ist und der man war“, so lautet das bittere Resümee eines verführten Menschen.
Die Geschichte vom Soldaten ist eine der ersten Arbeiten von Igor Strawinsky im Schweizer Exil. Strawinsky, der auch als Pianist und Dirigent erfolgreich war, schuf mit diesem Stück ein ganz eigenes, neues Musik-Theater, in dem er virtuos verschiedene musikalische Genres und Zeiten zitiert.
In Zusammenarbeit mit dem Landeskonservatorium Feldkirch.
A couple of nights staying with my wonderful friend Bonnie, eating pancakes, drinking tea, long chats into the night … a bit of last-minute self-gratification in shopping, some waxing of legs and plucking of eyebrows, downloading of sunn0))) live in Caves Lechapelais, Paris, eating chocolate, reading astrophysics, thinking autumn has arrived and not wishing to leave my bed … yes, a bed, a room, doors to close if I choose, sleep I would lie in for if I didn’t think 830am was lazy, emails from my beautiful friend 方圆 Fang Yuan in Guangzhou (or Beijing), news from my darling Anna currently in Suisse and so much of this week has been thinking of you, and tonight…
To Adelaide for a couple of weeks to see my wonderful friends, peas in a pod (*_*).
Missing you all so much.
Somehow I’ve found myself devoid of blogging the last couple of months. I suppose that’s what a third birthday does to you, and it does seem to be the third birthday of many blogs lately, including darling Theatre Notes, who smugly announced a Melbourne theatre bloggers party … I feel left out in the cold. (Anyone wanna fly me over to Melbourne? I probably don’t deserve it anymore seeing my pathetic regularity).
It feels time to return to supernaut. Beautiful Anna has blogged from Bruxelles, and Gala is soon to begin her blogging from Vienna. I won’t give the www yet, as I’m supposed to be doing the design now instead of … this.
I came to Adelaide to escape Melbourne. How long has it been now, almost two months, only two months. A short time even, and already an anxiety to move. China is still tempting me, but also I feel a need while contemplating journeys to airports – despite being atrociously poor – to remain for a while. To experience in the stopping that which I feel in the continual moving. For the moment Adelaide is perfect for this.
After Guangzhou last year, which was absolutely the hardest project I’ve ever done, and left me monumentally burnt out, I realised how much I was missing dancing. Before that, it had been about a year of continual dance, finding things in my body, new ways of moving, and then this abrupt stop. It was crush where I thought about the possibility of just dancing for a while became something tangible, and finding the whole Adelaide dance thing really came along at the right time, so now, since I first came here in September last year, I have, I guess, luxuriated in the infuriating storm of my body dancing.
It becomes a difficult question to answer though, “How long are you staying, what are you doing?” The answer to the first is entirely predicated on currency. The latter … to say I’m focussing on my training seems a little underwhelming. Perhaps I can be obtuse and hint at works that vaguely circle around my thoughts, or of getting in to a studio and choreographing. I am waiting. I am trying to find something in me, in my body or possibly more likely in my thoughts that will allow me to keep moving.
This return to all the Forsythe stuff in a situation where I am teaching it rather than the usual showing it to whoever I’m dancing with and saying, “ok let’s make something now” has been so liberating in me thinking about dancing. I don’t often feel natural or comfortable or capable or coordinated or articulate or proficient or … and so on when I dance. I’m slow, I learn slowly, I find different teachers and techniques baffling, incomprehensible, frustrating, torturous for different reasons, and so often feel I am trying to hide somewhere even while I am trying to dance, embarrassed by my own inability.
But with this Forsythe stuff … as I remember it being taught, as I remember doing it, by dancers from the company, so I suppose I can affix the attribute of his name to whatever it is I’m doing, possibly I am so far from this orbit … it slides onto me so easily. It’s where I belong and the more I do it the more ecstatic and intoxicated I get. Intellectually I find it so simple to grasp and from there to moving, it’s just a game, the closer I get to accuracy, the more I find there is endless possibilities. Then I get all over-excited and hyper-intellectual at what could be done in choreographing. I would like to keep it simple for a while. Just dancing around.
Two years ago I was in Zürich. A year ago, in Guangzhou. This time next year? I’m not sure but I have this slowly building feeling that certain things have to occur if I’m to keep dancing. To keep dancing every day is part of it, but this return to Europe … how boring can I be in this repetition, this need to be home? To dance alone is not enough, I need a sense of belonging. I’ve found it in Adelaide more than anywhere outside of Europe, but here is not for permanence. Here I think is to find how to dance, and then.
My darling Anna, whom I first met at DanceWEB in Vienna 2003 and spent a few weeks post-inferno enjoying the stadt with her and traveling together to Salzburg to stay with her grandmother. Then in Zürich in 2005 again we both chanced to be in the same city. More afternoons in cafes and playing with dance, rehearsals in Tanzhaus, evenings around Gessnerallee.
Since then she has been on many adventures and now has started blogging. Anna is a beautiful, poetic writer, reading her words is like being with her hearing her speak. Perhaps considering how all my friends know who Anna is from me talking, and the not few mentions I have made of her here, I should wait a while. But she is a crazy beautiful genius who makes the world a better place.
I’m not sure if I should blab this everywhere, but I found out yesterday my dear friend and regular partner in crimes against dance, Gala Moody is off to Vienna in July for DanceWEB 2007 at the ImPulsTanz Festival. So …
Oh god, I had one of the craziest six weeks of my life there, from getting funding to go less than two days before I had to be there, to a hellish 36 hour flight, turning up stunned by jetlag and walking straight into La La La Human Steps … The workshops, the performances, the parties … the kitchen! Oh yes! Breakfast, midnight, all manner of times, the kitchen is the centre of the universe. And some amazing, amazing people who have become friends for life: Ivo Dimchev, Lauren Slater, Anna Tenta. DanceWEB is to live in paradise. I’m so happy you’re going, Gala. (I should probably stop building it up so much, for when I see you in Europe and you say, “wow, I thought it was going to be … like … so much better …” … probably should have found a better photo too …)