Contemporary dance doesn’t seize to come back to its beginnings set by its pioneers in Europe a century ago. They broke with the conventions of classical ballet and tried to devise new forms of dance in accordance to their individuality and the spirit of the time.
Arachne, the spider, is a well known figure from Greek mythology. She can be read as one of the first famous female artists. Arachne weaves reality as it is becoming, she deciphers our world as a web of facts where there is no one truth. She dares to fight against regulative powers and norms that always try to enter, control and determine artistic production. She is a performance artist.
On May 29, 1913 at the Théâtre des Champs Elysées in Paris the audience witnessed the world premiere of "Le Sacre du Printemps” written by the Russian avant-garde composer Igor Stravinsky and choreographed by Vaslav Nijinsky. Because of their unusually emotional reaction to the work the public became part of the legend around this work which marked the beginning of modern choreography.
A workshop with the Austrian dance artist Silke Grabinger. The workshop contains the logic of movement and expressivity of urban dance as well as the knowledge and flow of contemporary techniques. It is oriented to dance professionals and non-professionals with a good physical training.
A dance performance in two acts, which explore what contemporary dance will look like in 30 years and how it will be excercised. In order to collect different points of view Willy Prager and Sonja Pregrad made interviews with other dance artists from different generations asking them why they have selected dance as a means of communication and self-expression and what might be their answer in 30 years.
“I`ve always found it very healthy to try out and exploit new formats and ways of doing, thinking or writing theater. To me social networks manage to accumulate inexhaustible and unique dramaturgical material and since years I’ve been asking myself whether it’s possible people’s natural experience of dealing with them to be implanted and exercised in a theatrical context that is limited in time and space
The stage is set with a drum kit and a dancer to undertake a dissection of movement in time. The limits of speed and stillness are broken and reach into the unexpected. Walking, talking, blinking – is it too fast or too slow? “How is Now” observes time and re-shapes the way it frames us.