Theater, Performance und Tanz in Hamburg - Kampnagel

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Hamburger Choreograf*innen im Alabama Kino:
Patricia Carolin Mai, Ursina Tossi, Josep Caballero García, Antje Pfundtner in Gesellschaft, Jenny Beyer

  • Ursina Tossi: REVENANTS
    © Sinje Hasheider
  • Patricia Carolin Mai: WAHN
    © Britta Lübke
  • Josep Caballero García: WHO’S AFRAID OF RAIMUNDA
    © Dajana Lothert
  • Antje Pfundtner in Gesellschaft: WE CALL IT A HOUSE
    © Simone Scardovelli
  • Jenny Beyer: DEUX
    © Thies Rätzke
  • Sat, 25.09.2021 from 13:30
    Alabama Kino
  • Sun, 26.09.2021 from 13:30
    Alabama Kino

Just in time for the start of the season, Hamburg choreographers are launching an initiative with the Alabama Kino to make up for the encounters and conversations and conversations that could not take place during the last pandemic season. How did bodies fare, how did they perform on orphaned stages? Five Hamburg choreographers show the film formats, that they have developed as an alternative to stage premieres and look forward to feedback in real encounters rather than in digital space. Jenny Beyer, Josep Caballero Garcia, Patricia Carolin Mai, Antje Pfundtner in company and Ursina Tossi will be on location that weekend to discuss their projects with audience members and colleagues. Here's to a good start into the new season!


Saturday, 25.9.2021, 13.30

Patricia Carolin Mai had finished her long research on bodies in extreme states. After two consecutive pieces - the former with 70 people on stage, while the latter took the bare path of the solo - the Hamburg choreographer's gaze was to focus this time on the cultural attributions and inscriptions of human bodies. For the examination of the history of exposed bodies Patricia Carolin Mai and team chose this time not the stages Kampnagels and K3, but the museum MARKK - Kulturen und Künste der Welt. For when Patrica Carolin Mai is not dancing herself, she is interested in people who are not active in the performing arts and thus bring other questions to bear on bodily mechanisms of representation. This project did not turn into a play but into a film in May 2021 with 17 people who are enthusiastic about dance and who have already been working with Patricia Carolin Mai for 3 years. People who look at their pandemic retreat: What remains of a moving body when it no longer relates to others, no longer approaches them, no longer exposes itself to them?
This film is the 17fold memory of bodies from past crowds. Remembering: Andrea Sander, Charlotte Höflich, Christina Rohde, Cina Mael Bockstahler, David Mauer, Dorothea Derksen, Evelina Dineva, Katharina Stier, Kora Hamm, Lisa Dilger, Louise Biehl, Melanie Schorsch, Nadine Kribbe, Norbert Dorow, Ronja Lüdemann, Sina Luig, Susanne Wehowsky.

WAHN / Streaming
In June 2021 Patricia Carolin Mai choreographed a hybrid stage installation for the Ringlockschuppen Ruhr in Mülheim, Germany, which brings together the film with isolated live dancers* on stage. A dance performance from a time in which we, despite separation and displacement into the digital, can remain connected and in relationship with each other.



Saturday, 25.9.2021, 15.00

Climate crisis, pandemic, the threat from the right, the division of society and the destruction of our material living conditions - all that has been located mainly in the Global South or in the past, suddenly takes place here - with us. We are moving on shaky ground, time is getting out of joint. What was virtual becomes virulent, what was narrative becomes reality. What about the responsibility for what happens and happened? There is no linear history anymore, there are only countless stories or none. We are surrounded by the invisible, the forgotten, the undead and the antiheroes who do not appear in any chronicle, because history is told by the victors. In REVENANTS the Hamburg choreographer Ursina Tossi dedicates herself to the ghosts of history(s) that inspire a politics of emancipation and critique. They come from the future to change the past. Six dancers awaken the ghosts from history(s) and (pop) culture. They find new feminist narratives for their conflicts with patriarchy and capitalist power relations and search for forms of the return of forgotten events in the poetically creepy sense of a curse, which they dance critically, topically, electrifyingly, eerily but also erotically-humorously. REVENANTS reflects the process of archiving as a physical, living memory process that sometimes feels like a dream, sometimes like a trip. The filmed stage becomes Hades, the mise en scene of a SciFi, a pulsating womb and a space capsule.


WHO'S AFRAID OF RAIMUNDA / film version.

Saturday, 25.9.2021, 16.30

WHO'S AFRAID OF RAIMUNDA by Josep Caballero Garcìa is a two-part project about queer iconographies: first, it is a stage play that premiered at Kampnagel Hamburg on 10/22/2021 just before Lockdown, and second, it is a film about contemporary bodies in orphaned, pandemic spaces. The work on WHO ́S AFRAID OF RAIMUNDA once began with the exploration of a chapter from medieval Iberian history - a time when plurality of cultures and genders was tolerated before the Christians reconquered the peninsula in 1492 and expelled the Jews from Granada. Previously, for several centuries, three different cultures and religions had lived together; Al-Andalus, Jews and Christians, which together formed an extraordinary cultural hybrid. Not only did cultures intersect, but so did sexual practices. Numerous texts and poems from the time describe a queer, hedonistic Iberia and at the same time the struggle against Andalusian and Jewish homosexuality from the time of the Christian reconquest. At the beginning of the play research, the texts from Jewish, Arabic and Christian literature of the Iberian Middle Ages still read as a possible utopia, but turned out to be a homosexual, but no less patriarchal concept of relationships, in which women do not appear. That is why García's project is dedicated to "Raimunda" - whoever Raimunda is. As an allegorical figure, she stands for hidden, invisible identities that have been eclipsed by patriarchy or other power structures, and embodies lustful resistance to repressive mechanisms of power and exclusion.




Sunday, 26.9.2021, 13.30

"We Call it a House" premiered as a stream on May 20, 2021, and with this new work Antje Pfundtner in company also draws on questions shared and discussed with other artist:s and rehearsal-going guests of all ages. After questions from previous pieces such as "What are you not asked enough?" and "What do you stand up for?", this time Antje Pfundtner in Gesellschaft has collected answers to "What do you need the others for?". It began with the interest in asking who owns the stage, who goes there, how it is shared, what is negotiated there together. The plan was to have many others come there to share space, time, interests and intentions. The idea of many people in one place turned out differently. Three remained: from now on they shared a stage and an object standing on it, they called it a house. In it they reoriented themselves and changed their opinions: about theater, about themselves as a we, about what they do, about the invisible audience. They realized that "We Call it a House" would have only one audience - they called it a camera. What the three have been doing in the house ever since is not a film, but they call it a film because it's not a play either. What they do beyond that: they make sure of themselves, whether alone or in the presence of the others, they need and call each other to talk about whether promises possibly guarantee perspectives or commitment. Because: "We know it: we need the others. Still, it's nice to be reassured of that once again through such a haunting dance piece." Annette Stiekele, Hamburger Abendblatt


DEUX: Nothing is direct, indirectness is haunting us.

Sunday, 26.9.2021, 15.00

On 7th of April 2021 DEUX was premiered and filmed online at Kampnagel Hamburg and simultaneously at DansiT in Trondheim. DEUX focuses on the meeting of two people as an intimate and at the same time precarious undertaking. The imperative of spatial distance imposed by the pandemic becomes the playing field for three pas de deux in which the dancers Nina Wollny, Chris Leuenberger and Jenny Beyer invite each other to dance in changing constellations via video conference. They meet each other in a space that is not (yet) a shared one. How do they accept the offer to come together? DEUX cautiously tests the possibilities that working at a distance opens up. When the spatial gathering is eliminated, the search for connectedness becomes more visible than ever. What do we need each other for? What does closeness mean right now? What is the value of the empty space between us? The duet partners are challenged to share solo existence and to find new forms of orientation with each other. Another stage is created, of which we do not yet know - neither performers nor spectators - who we will be on it. DEUX is a hybrid production that will premiere simultaneously at Kampnagel in Hamburg, at DansiT in Trondheim and online. The piece was created as the second part of a trilogy in which Jenny Beyer and team interrogated the classical dance formats, namely solo, pas de deux and corps de ballet for their moments of encounter. DEUX was created as part of the rehearsal format OFFENES STUDIO in close exchange with spatially present and digital audiences. In it, Jenny Beyer and team offer movement material as an impulse to share reflections and themes with audience members and to develop new forms of encounter through togetherness.


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