1991

euro-scene Leipzig

1st Theatre Festival of European Avant-Garde 14 – 17 November 1991

Theatre and dance from old and new Europe

Festival Director and Artistic Director: Matthias Renner Artistic collaboration: Ann-Elisabeth Wolff

Programme 1991

Wenn du kommst … gehe ich! (When you come … I go!)

This production is a thought-provoking mixture of movement, enthusiastic dance, drama and set design. »Wenn du kommst ...gehe ich!« (»When you come ... I go!«) examines man's increasing alienation and isolation.

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2 dance 2 gether

Two famous twentieth century painters were the inspiration for these two demanding pas de deux.

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Strange children

Two years after her first solo performance »Spiegelungen« (»RefIections«), Annette Jahns launched her second production »Seltsame Kinder« (»Strange children«), based on stories by the Spanish writer Ana Maria Matute. The question, how do adults treat children, is answered bleakly in this piece with indifference, oppression, rejection and cruelty.

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Happy SCHWANENSEE Day

This new parody of the romantic ballet »Swan Lake« draws its inspiration from Woody Allen's »Guide to some of the less important ballets«. In this spirit Tschaikovski's music collides with the characters from the classical production, which have taken on modern day experiences.

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Wandering

Leszek Mądzik, director and set designer since 1967, has worked for many years as the playwright, director, designer and producer of this Lublin theatre group, which he regularly puts together after intensive rehearsals from students at the Catholic University, thus ensuring a continual rejuvenation of the group.

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Histoire d'un huis clos (Story behind closed doors)

»Hell is other people« – a quote from Sartre's play »Huis-clos«, written in 1945, after which this passionate dance-drama was created. A daily hell is like living with someone, who always causes suffering, although they are the object of desire. The relationship between a man and two women is full of secrets, both hidden and discovered, and the hell of our existence lies between tenderness and violence, ignorance and knowledge.

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Living Space

Locked in a glass cage, the strange Beauty rocks her young naked body to the beat of a self-induced rhythm. She seems to have been transported to our civilisation from ancient times or places. The small amount of freedom allowed her in her transparent prison is used to celebrate rituals of life and death, a former existence as an animal, rituals of idol creation and worship, and loneliness.

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Private life

Emerging sexual desire, that most common and yet most personal drive is that which motivates the group of young people, sets them at each other's throats, makes them rebel and urges them into insoluble entanglements. No educational or politically motivated pressure can stop it.

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Shite Samurai

Here the senses are important, not necessarily the mind. The production relies on the audience's imagination, the effect of movement and space, music and onomatopoeia, light and darkness. The performers move in a surreal world, using a ritualized body language, borrowed from the Asian No theatre.

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Der Riß (The split)

In her artistic lifetime Valeska Gert (1892-1978) the eccentric dancer, cabaret artiste and actress, was an iceberg brought to explosion by a strange inner heat, whether in München, Berlin, Moscow, London or New York. She brought inspiration and atmosphere to Tanzfabrik Berlin's dance-drama »Der Riß« (»The split«); Tanzfabrik is one of the most important free dance-drama groups in Germany.

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