Fashionable goodies of the last festivals are available HERE
NEWSLETTER ARCHIVE 2012 July, 2012
On tenderness, state choreography, blacksmiths and ballads at ImPulsTanz 2012 (July 2012)
“All you have to do is sleep with somebody and get caught and you never have to see your in-laws again. Ever. Pfffft! Gone. It's the nearest thing to magic I have yet found.” (Anne Enright – “The Forgotten Waltz”)
Magic, huh. Always awesome, in selected cases maybe a little lopsided.
Sleeping is anyway totally last Friday at the moment. Today, ImPulsTanz is having its annual Grand Reopening in Vienna (e.g. with Benoît Lachambre & Clara Furey as well as Ivo Dimchev & Emilian Gatsov), a couple of world premieres are already being conceived since last week (e.g. by Philipp Gehmacher, studio 5 or The Bandaloop), the festival lounge is ready for one month of tenderness attempts and as of Sunday, the formerly bellicose history of Vienna’s Arsenal will be danced into the ground yet again with verve.
Tickets are still available, partially thanks to add-on performances (e.g. Manuel Legris’ contemporary ballet gala “Il faut qu’une porte...” or Ismael Ivo’s “Francis Bacon”)
Also amongst the workshops it is possible for you to save the world with a dance (Martin Keogh & Sabine Parzer), get your share of state choreography (Dana Yahalomi/Public Movement) or simply sweat it all out doing Pantsula (Sifiso Seleme). Highly noteworthy: Janet Panetta, THE Janet Panetta, who is going to finally return to the stage at MoMA NYC this fall in Bel’s classic “The Show Must Go On”, is now also offering to trouble shoot your (ballet) technique in a personal coaching. Life’s such a joyride sometimes, isn’t she.
"The first dancer was a blacksmith.” (Ko Murobushi)
Austria’s dance and performance artists do have lots of side skills, too. And if you’d be curious to encounter this artistic versatility, you are a damn lucky chap: works and voices of the local international dance scene are marking this festival like never before, culminating in its centre with more than 20 installations, choreographic sketches and excerpts of work by 30 Austrian-based makers within Österreich Pavillon at Etablissement Gschwandner (a former wine tavern, of course).
This festival within the festival is also elegantly referred to as CPA* and is keen on exchange on all levels. Exquisit catering is secured to possibly lure artists and producers and funders to talks on more collaboration. Contemporary choreographers are even inviting to an audience dance at the end of each Pavillon night.
"The gallery atmosphere is starting to be limiting. Actually, I think the theater is coming back. Everything's starting to look the same in an open space." (Gia Kourlas, Time Out NY)
“I think the arts have been fed too much money. It is important to start from restrictions again. I think there needs to be a tension and that tension was getting less and less.” (Akram Khan, The Telegraph)
“And Bruno said what Anders said some producer said to young Lennon: ‚They can't all be ballads, Julian!’" (Kimya Dawson – “Hidden Vagenda”)
Space, money and melancholy will certainly be addressed in one of the various informal talks during ImPulsTanz 2012, instigated by CPA* artists Magda Chowaniec and Amanda Piña or danceWEB mentors Benoît Lachambre and Robin Poitras or teaching artists Sri Louise and Kerstin Kussmaul.
As part of the EU project Jardin d’Europe, some 67 young dance artists from 40 countries give ImPulsTanz a huge extra sparkle again, but some EUR 10.000,- will be awarded together with Prix Jardin d’Europe to one of the 14 companies/artists performing within the 8:tension series, and finally, “Critical Endeavour“ will see Franz Anton Cramer, Boyan Manchev, Claudia La Rocco and many more blog and post on dance and performance and the festival and beyond.
Finally, surviving despite of contemporary dance is always at stake. Here is an audition that may result in an at least temporary relief from this worry:
“That we have some history together that hasn’t happened yet.” (Jennifer Egan - “A Visit from the Goon Squad”)