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RESEARCH 2010

Robert Standfest
© Robert Standfest
CoachingProject: August 2-6 2010

Christine Standfest

Clubbing - Dance o' the Times

Every night hundreds or maybe thousands of people are dancing. What kind of dancing is this? What happens on the dancefloor, between gaze and gazing, body and bodies, sound and sounds? Between the location, the DJs, the sound system, and the crowd?
Clubbing is about going out. About the social and the collective in and within dancing, which happens every night and everywhere. Somehow excluded from the field of dance (art) or conceived as its hidden dark side, it happens all the time, uplifting or raw, tender, exhausting, high and exhilarating, mild or militant. It is about the blending, the conflict, aggression and knowledge, about gaining space and pleasure, about social forms and squandering – and about who is generating all this and how, every other evening over and over again, within the triad of location, sound and crowd. It is about collecting and absorbing images of body and gender created within and by this parallel universe of "partying", as well as the cosmopolitical and racist views and the practices of in- and exclusions. It is about the "danced communication" with and without speech, the codes, moves, crowds, clubs, and all their specific discretions and transgressions. It is about partying, either following idols of the culture industry or the real-lived Pop, or simply imagelessly following the electronic "great boom boom"-aspect of life. Clubbing is a tour through the Viennese club- and subculture. At night we go out dancing, to selected clubs with different genres of music, economies and attitudes. At day we meet up and collect the collected, rehearse and highlight the choreographies, the moves, the rhythms, the power and the squandering of the night and their effects on our bodies, our thinking, our observations and beings, and we focus on dance. What is the difference between Techno, House, Dub Step or Electro, to only stick to the further differentiated genres? How do they affect movement, sensuality, emotions and their expression, social behaviour and the incorporated, within the danced exposure to each other? Are there ways to analyse, criticise and just celebrate it at the same time? Maybe choreograph it at the end? We will continue dancing, dicussing and reporting during the day, in dialogue with live-sound, material, texts and filmscreenings to the overall topic: "... because there is no sensible way to talk about Pop other than captivatedly pointing at the captivating: hey, super!" (Rainald Goetz)

Christine Standfest
Christine Standfest born in 1963 in Germany. After and during studies of literature, gender and cultural studies and education in Regensburg, Berlin and Lancashire she turned from political activism to theatre, performance and theory. Since 1997 she works mainly with theatercombinat and director Claudia Bosse in Vienna, Berlin, Geneva, Podgorica and other cities, i.e. in Fatzer by Bertolt Brecht, Massakermykene, Sieben, Anatomy Sade/Wittgenstein, madcc psukb, Sleep against Düsseldorf, Mauser by Heiner Müller, Firma Raumforschung, Où est donc le tableau, Palais Donaustadt; from 2006-2009 she researched and performed in theatercombinat's theatrical series PRODUCERS OF TRAGEDY with varous stagings and concepts directed by Claudia Bosse of the texts The Persians by Aischylos in Vienna, Geneva and Brunswick, Coriolanus/turn terror into sport by Shakespeare (Vienna) and bambiland by Elfriede Jelinek (Vienna/Düsseldorf), ending the series with desasterzone in Vienna, October 2009. Besides, dramaturgy, teaching and writing activities, i.e. with Barbara Kraus (fuck all that shit, ImPulsTanz 2005) or Peter Stamer (sans papier, Dance Congress, Berlin).

ArtistBio: Christine Standfest

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Date: 25.01.2020, 23:28 | Link: https://www.impulstanz.com/en/archive/2010/research/id1712/