Band and ensemble. Taste the words, what they stand for, really? At the bottom is the significance about the same, it’s about doing something together.
at the same time is scenkonstvärlden basically a strictly hierarchical environment and across the community on stage has, by tradition, the creative forces stood. Forces that orchestrates and decides and forces that aim to fulfil and perform, and a glass ceiling between the floors which makes it difficult to freely move up.
Around the question of whether the almighty genius, for the moment, absent, created Teaterrepubliken in the autumn set "without genius". The night was in itself a manifestation of the frustration and idétorkan that the actors experienced, when they are before a premiere been abandoned by their combined scriptwriter and director.
the Gist of the study was; to stay at your read. The actors had chosen to become an actor for a reason and even if the role of genius could seem appealing, they realized when it came to the crunch, that they wanted to take responsibility or, in particular, had much to say.
But in many other circumstances, are encouraged, on the contrary, a redistribution of the roles. Not only in the teaterhusen but also in relation to the lounge where the interactive elements succeed each other and making the audience co-creation in the artistic process.
During Åsa Söderberg soon as the ten-year led by Skånes dansteater has a consistent effort been made to challenge the art form’s traditions with regard to ideals and limits. In the regular programme item "Lunchdans" has the ensemble dancers had the opportunity to create their own choreographies and this year’s edition is no exception.
the Four works included in the program and the variation runs from the Jing Yi wang’s elegant graphic stilprov "Endless" to Hazuki Kojimas disclosure performance "Insert Joy Here", Sarah Bellugi klima’s coastal playful love triangle "From Way Up There" to the Madeleine Månssons and Peder Nilsson’s passionate duet "Dare to Wreck".
In Kojimas solo, the stage is served to the party and the dancer Laura Lohi glitters in gold and sequins. But the face radiates sorrow and it doesn’t help that she paste a lösleende on. The eyes reveal her and soon shedding tears along with his cheeks as she takes a step forward and confess what we all see; she is not feeling good, have not done that in a long time.
Long as she stands so and just look at us as dumb looking back. Due to the proximity and the attention-seeking gaze challenged the conditions of the art; that everything is fiction, that language is rhetoric, that no one expects of us that we should take the step forward and comfort her.
If this experience moves in the art form borderland is Madeleine Månssons and Peder Nilsson’s duet a the more classic pas de deux, with the difference that two of the legs are replaced with rullstolshjul. Wheels that the viewer soon forgets, in the work’s breakneck roll between distance and closeness, tenderness and rage.
The limited format despite, the crowd gets up many to the food during the short lunch hour. And then, I have not even mentioned morotssoppan.