THEOREM - Sol.East

Just
choreography and interpretation Daria Buzovkina (Russia)
music “Nol”
poem Daniil Haarms

"I remember. Remember something was not. Was not with me. Or is it only my imagination…I just…
In general this piece is dedicated to my father, because he likes that music, he lived through those times and grew up in an orphanage..
So it's parly about him, but also about my emotional experience of all of this and why I can feel that era pulsating in my arteries... and how it influences my life today…" (Daria Buzovkina)

Presented in Paris Quartier d’Eté: July 17-20, 2002

5 Minutes of my Life
choreography and interpretation Eduardo Gabia (Bucharest, Romania)
music Jan Garbarek and Portishead
production DEEA dance group

“Feeling, thought, dream, real, unreal, breath, stain, you, once upon a time, I am not, watching, love, you never know, step, spark, idea, remains, a little, nothing…myself”
(Eduardo Gabia)

Presented in Paris Quartier d’Eté: July 17-20, 2002 and in Hebbel Theater, Berlin : Tanz im August, August 24 and 25, 2002

Based on a true story
choreography and interpretation Mart Kangro (Estonia)
music Paolo Conte

The performance “Start.Based on a true story” is a medley of different interesting recentl events, such as abstract games, different dance experiments, various textual materials that happened to be at his disposal, experienced sensations and the physical embodiment of persistent ideas.

Presented in Paris (Studio du Centre national de la danse) on December 13 and 14, 2002

There Where Jasmine Never Stops Blossoming
composition and set design Sasha Pepelayev
choreography Kinetic Theatre (Russia)
music "Huun-Huur-Tu", E. Sklyarov, P. Leschenko, E. Rangel
batic Tatiana Karpenko
interpreters Tatiana Gordeeva, Daria Buzovkina, Vassily Yuschenko, Nikolai Schetnev, Sasha Pepelayev

Kinetic's project is an attempt to combine choreography, improvisation, contact improvisation, physical theatre and text.
Actors and dancers with different backgrounds have been invited to this project. The performance sequences are like uncompleted fragments which change the relationships of both performer to character and performers to each other.
The performance's final theme is fixation, a naive hope for the future recollection of some summer holiday.
It was created while reading Moscow - Stations by Venedict Erofeev, one of the most important literary works to emerge from Soviet underground literature of the 70’s. The book's images and motif were reflected through the themes in the actors’ sketches and choreographic concepts. Both the book's atmosphere and its author’s tragic fate had a big influence on the participants during the creation process.
“The Tear of a Komsomol Girl even has a weird smell…
Somebody drinking neat vodka will either keep a clear head and a sound memory, or, on the contrary, lose both of them. But as far as The Tear of a Komsomol Girl goes, it’s quite funny: you can drink 1000 grammes of the Tear, and your memory’s sound as a bell, but it’s as if you’ve no head at all. Yet if you drink another 100 grammes, you’ll surprise even yourself: where did I get this fantastic clear head? And where the hell’s my memory gone?
Even the recipe for The Tear is strong stuff. And once the cocktail’s mixed, a mere whiff of it can cause a momentary loss of sensationand consiousness. It did with me, anyway.
(Moscou-Stations)

Performance premiered in Moscow at the Tseh Festival, 11 –15 December 2001 and presented in Paris Quartier d’Eté: July 17-20, 2002

Citi_zen performance
concept Olga Kumeger (videast visual artist, Russia)
performers Andrei Andrianov, Oleg Soulimenko
dancer Daria Buzovkina
production Centre national de la danse (creation in residency)

« Citi_zen performance » exposes the body in the city, an on-screen body, a symbolic body in an urban space saturated with electric signs, neon messages, haunted by the ghosts of multi-media.
Live features, forms and poems are projected over the on-screen bodies of Daria Buzovkina, a young dancer-choreographer, and Andreï Andrianov, an improviser from the Saïra Blanch group. Olga Kumeger, a visual artist and video-artist working in Moscow,develops a unique performance, where dance becomes matter and material movement.

Presented in Paris (Studio du Centre national de la danse) on December 16 and 17, 2002
(Dance Forum in Monaco, December 10-12, 2002)

Venus with the Rubic’s cube
choreography and concept Kristyna Lhotáková and Ladislav Soukup (Czech Republic)
interpretation Kristyna Lhotáková
music Ladislav Soukup

Women should be young, tall, thin and photogenic, just like Venus. At least, that's what the western media keeps telling us. This kind of pressure causes generations of young immature, anorexic, unhinged girls to develop. Standing on the stage in a bikini, and accompanied by Ladislav Soukup playing cello, the young Czech choreographer denounces all the sexist violence that happens in daily life, and is distilled by our societies, with resounding irony and gestures of surgical precision.

Presented in Paris (Studio du Centre national de la danse) on 10 and 11 December 2002

Wittingly
choreography and interpretation Raido Mägi (Tallinn, Estonia)
music Taavi Kerikmäle, Cal Tjader ja Eddie Palmieri, immersio LOW IPACT

Wittingly is an experiment with your body and its sensations and wits. What and with which wit?
“I made a begging bowl out of my wits, and they overhelmed my steps, so that I didn’t know with whom to share this abundance.”

Presented in Paris Quartier d’Eté: July 17-20, 2002 and in Hebbel Theater, Berlin: Tanz im August, August 24 and 25, 2002

Memory for sale
conception Mihai Mihalcea & Florin Fieroiu (Bucharest, Romania)
interpretation Mihai Mihalcea
production MM & Solitude Project

"Sometimes, I find my past in my present gestures? I took the body with me like a cactus hiding its flowers.I remember the precious, shiny objects appreciated by almost everyone. I
remember the Indian movies and I understood why I was supposed to cry everytime I was watching.I still carry with me the image of my mother's favorite shoes.
Today I don't know what to do with all this stuff?"
Mihai Mihalcea

Presented in Paris Quartier d’Eté: July 17-20, 2002

You come to see the show and you'll get an extra-burger
choreography Mihai Mihalcea (Bucharest, Romania)
interpretation Mihai Mihalcea, another dancer and an actress
coproduction MM & Solitude Project, Multi-Art Dans Centre, Bucharest

Surrounded by an alter ego mannequin and by a polyglot "witness-actress", the Romanian artist examines the solo in order to soliloquize about the difficulty of being alone on stage… It is an evolving solo, premiered in 1999, playing humorously and sensitively within a sphere of intimacy in order to question the position of artist today.

Presented in Paris (Studio du Centre national de la danse) on 19 and 20 December 2002

New piece 2002 (coproduction)
choreography Manuel Pelmus (Bucharest, Romania)
coproduction Hebbel Theater - Berlin, Centre national de la danse - Paris, Theorem (association supported by the Culture 2000 programme of the European Union), Project DCM Foundation – Bucharest, Multi Art Dans Centre – Bucharest. With the support of Tanzquartier – Vienna and Kulturkontakt - Austria.

Piece for 4 dancers, this new piece tackels personal memory, perceptions, and everything that constitutes the identity of a human being… « If it's life that interets me, how can I embody it in my performance without attacking its vitality, if it's the present moment I want to seize, how can I expose it on the stage without sacrificing the reality principle ? We have to ask "how" before we know what we are really doing. » (Manuel Pelmus)

Presented in Paris (Studio du Centre national de la danse) on 19 and 20 December 2002 and in Hebbel Theater in Berlin in January 2003

Outcome
choreography Manuel Pelmus (Bucharest, Romania)

A man who is rolled up in a cable that is growing out of his head, monotonously unwinding himslef from it, moves outside of time, and explores the origins of his identity almost in a meditative way before eventually tearing himself apart.

Presented in Hebbel Theater, Berlin : Tanz im August, 24 and 25 August 2002

En silence
choreography and interpretation Nikolaï Schetnev (Arkhangelsk, Russia)
music Chopin
production "Another dance", Arkhangelsk, Russia

It is said that any kind of solo is actually a duet between the dancer and the space, time, spectator, etc.
Schnetnev’solo is absolute, the hero is ideal and un-environmental influences cannot touch him. He finds ths sources for movement within himself, as his body talks to him.
He only he notices the world around him occasionally as it prowides new material for his inner symposium where several withdrawn Koljas have gathered to drink tea and talk.

Presented in Paris Quartier d’Eté : 17-20 July 2002 and in Hebbel Theater, Berlin : Tanz im August, 24 and 25 August 2002

All these Apropos
concept and choreography Magdalena Reiter (Poland)
music Mazzol, D.Troop
interpreters Magdalena Reiter and Katarzyna Chmielewska
production X-group (Parts&Brussels 2000)

Beckett's short story Enough served astyhe creators’ inspiration for his impressive, intimate pas de deux in which they gradually generate the atmosphere of intimacy between friends in a sophisticated fashion and with the mythical grace of two female energies. The focus is on communication and relationship-but also on feminity as celebrated in black dresses like spider webs that barely conceals the dancers’ breasts. Physical intimacy, variations on movement in sync, completing the partner’s step variations, and parallel impulses provide a harmonizing means of communication. This piece of choreography is a meeting point between literature and dance and to some extent its theme is embodied in the text. The dancers speak in a text of prose and verse at first, but then move on to a similar language of movements. Once the spoken words are uttered aloud we find their content cannot be understood, their meaning escapes us. Through the microphone, the dancers shout out orders, slogans and incomplete sentences. The sentences stir up uneasiness and cannot be completed. They are the ruins of a text that cannot communicate anything. Just as in Beckett, the words are as a trap. In the interplay of the bodies however, the rhythm of their breath, and in their shared dynamics and calmness there is specific content and coherence. The choreography releases unusual moods in the space. It radiates with the serenity of the Zen garden as well as with erotic tension, working with both the symptoms of misunderstanding and with the intimacy of shared secrets.

Presented in Hebbel Theater, Berlin : Tanz im August, 24 and 25 August 2002

Fiction of objects
"no.41, 11 Iunie Street"
objects choreography (installation) Vava Stefanescu (Bucharest, Romania)

"If I had realized that what was happening to me was real, nothing would have finally happened in the end or I would have died. Our existence carries illusions, we believe in them more than we believe in reality. It is enough for us to be present where our illusions and desires call us."
A short choreographic essay with objects where the presence of characters is built – in absentia - through visual and audio images of facts; facts surround and define the characters though their actions."
“My work is meant to be site-specific: that means if I come to a new place, I would like to use the sound and the objects that are characteristic of this place. So, I can record and edit the sound and video there, and choose objest to have on the stage from there. Up untill now I have used objects that move ‘alone’(electric), as well as a video projector."

Presented in Paris (Studio du Centre national de la danse) on 10, 11, 13, 14 December 2002

Sol.East Choreographic Projects (Romania, Estonia, Russia, Poland, Czech Republic)
After the fall of the wall, dance in Central and Eastern Europe tried to free itself progressively from traditions and overwhelming structures inherited from the past – just as theatre had done a little earlier –. Often against a harsh economic background, young choreographers created their own means of expression, a peculiar way of moving, throwing up all sorts of questions with acid humour. Talented and audacious, they valued liberty and independance over political calculations. Many have founded their own structures, and they are now creating very personal performances. At the end of lots of research trips and meetings, a number of dance programmes have been established bringing together solos and creations by Central and Eastern European choreographers. Choreographers Daria Buzovkina (Russia), Eduard Gabia (Romania), Mart Kangro (Estonia), Sasha Pepelayev & Kinetic Theatre (Russia), Olga Kumeger (Russia), Kristyna Lhotáková and Ladislav Soukup (Czech Republic), Raido Mägi (Estonia), Mihai Mihalcea (Romania), Manuel Pelmus (Romania), Nikolaï Schetnev (Russie), Magdalena Reiter (Poland), Vava Stefanescu (Romania) These programmes were presented: By the Centre national de la danse (Paris, France) : - July 2002 as part of the Paris Quartier d’été Festival (France) - December 2002 in the Studio du Centre national de la danse (Paris) : “D’Est en Ouest” And by the Hebbel Theater (Berlin, Germany) : - August 2002 as part of the Tanz im August Festival at the Tanzwerkstatt (Berlin) - January-February 2003 as part of the Winter Tanz Festival (Berlin) Co-production Centre national de la danse (Paris, France), Hebbel Theater (Berlin, Germany), THEOREM (association supported by the Culture 2000 programme of the European Union)
Just choreography and interpretation Daria Buzovkina (Russia) music “Nol” poem Daniil Haarms "I remember. Remember something was not. Was not with me. Or is it only my imagination…I just… In general this piece is dedicated to my father, because he likes that music, he lived through those times and grew up in an orphanage.. So it's parly about him, but also about my emotional experience of all of this and why I can feel that era pulsating in my arteries... and how it influences my life today…" (Daria Buzovkina) Presented in Paris Quartier d’Eté: July 17-20, 2002 5 Minutes of my Life choreography and interpretation Eduardo Gabia (Bucharest, Romania) music Jan Garbarek and Portishead production DEEA dance group “Feeling, thought, dream, real, unreal, breath, stain, you, once upon a time, I am not, watching, love, you never know, step, spark, idea, remains, a little, nothing…myself” (Eduardo Gabia) Presented in Paris Quartier d’Eté: July 17-20, 2002 and in Hebbel Theater, Berlin : Tanz im August, August 24 and 25, 2002 Based on a true story choreography and interpretation Mart Kangro (Estonia) music Paolo Conte The performance “Start.Based on a true story” is a medley of different interesting recentl events, such as abstract games, different dance experiments, various textual materials that happened to be at his disposal, experienced sensations and the physical embodiment of persistent ideas. Presented in Paris (Studio du Centre national de la danse) on December 13 and 14, 2002 There Where Jasmine Never Stops Blossoming composition and set design Sasha Pepelayev choreography Kinetic Theatre (Russia) music "Huun-Huur-Tu", E. Sklyarov, P. Leschenko, E. Rangel batic Tatiana Karpenko interpreters Tatiana Gordeeva, Daria Buzovkina, Vassily Yuschenko, Nikolai Schetnev, Sasha Pepelayev Kinetic's project is an attempt to combine choreography, improvisation, contact improvisation, physical theatre and text. Actors and dancers with different backgrounds have been invited to this project. The performance sequences are like uncompleted fragments which change the relationships of both performer to character and performers to each other. The performance's final theme is fixation, a naive hope for the future recollection of some summer holiday. It was created while reading Moscow - Stations by Venedict Erofeev, one of the most important literary works to emerge from Soviet underground literature of the 70’s. The book's images and motif were reflected through the themes in the actors’ sketches and choreographic concepts. Both the book's atmosphere and its author’s tragic fate had a big influence on the participants during the creation process. “The Tear of a Komsomol Girl even has a weird smell… Somebody drinking neat vodka will either keep a clear head and a sound memory, or, on the contrary, lose both of them. But as far as The Tear of a Komsomol Girl goes, it’s quite funny: you can drink 1000 grammes of the Tear, and your memory’s sound as a bell, but it’s as if you’ve no head at all. Yet if you drink another 100 grammes, you’ll surprise even yourself: where did I get this fantastic clear head? And where the hell’s my memory gone? Even the recipe for The Tear is strong stuff. And once the cocktail’s mixed, a mere whiff of it can cause a momentary loss of sensationand consiousness. It did with me, anyway. (Moscou-Stations) Performance premiered in Moscow at the Tseh Festival, 11 –15 December 2001 and presented in Paris Quartier d’Eté: July 17-20, 2002 Citi_zen performance concept Olga Kumeger (videast visual artist, Russia) performers Andrei Andrianov, Oleg Soulimenko dancer Daria Buzovkina production Centre national de la danse (creation in residency) « Citi_zen performance » exposes the body in the city, an on-screen body, a symbolic body in an urban space saturated with electric signs, neon messages, haunted by the ghosts of multi-media. Live features, forms and poems are projected over the on-screen bodies of Daria Buzovkina, a young dancer-choreographer, and Andreï Andrianov, an improviser from the Saïra Blanch group. Olga Kumeger, a visual artist and video-artist working in Moscow,develops a unique performance, where dance becomes matter and material movement. Presented in Paris (Studio du Centre national de la danse) on December 16 and 17, 2002 (Dance Forum in Monaco, December 10-12, 2002) Venus with the Rubic’s cube choreography and concept Kristyna Lhotáková and Ladislav Soukup (Czech Republic) interpretation Kristyna Lhotáková music Ladislav Soukup Women should be young, tall, thin and photogenic, just like Venus. At least, that's what the western media keeps telling us. This kind of pressure causes generations of young immature, anorexic, unhinged girls to develop. Standing on the stage in a bikini, and accompanied by Ladislav Soukup playing cello, the young Czech choreographer denounces all the sexist violence that happens in daily life, and is distilled by our societies, with resounding irony and gestures of surgical precision. Presented in Paris (Studio du Centre national de la danse) on 10 and 11 December 2002 Wittingly choreography and interpretation Raido Mägi (Tallinn, Estonia) music Taavi Kerikmäle, Cal Tjader ja Eddie Palmieri, immersio LOW IPACT Wittingly is an experiment with your body and its sensations and wits. What and with which wit? “I made a begging bowl out of my wits, and they overhelmed my steps, so that I didn’t know with whom to share this abundance.” Presented in Paris Quartier d’Eté: July 17-20, 2002 and in Hebbel Theater, Berlin: Tanz im August, August 24 and 25, 2002 Memory for sale conception Mihai Mihalcea & Florin Fieroiu (Bucharest, Romania) interpretation Mihai Mihalcea production MM & Solitude Project "Sometimes, I find my past in my present gestures? I took the body with me like a cactus hiding its flowers.I remember the precious, shiny objects appreciated by almost everyone. I remember the Indian movies and I understood why I was supposed to cry everytime I was watching.I still carry with me the image of my mother's favorite shoes. Today I don't know what to do with all this stuff?" Mihai Mihalcea Presented in Paris Quartier d’Eté: July 17-20, 2002 You come to see the show and you'll get an extra-burger choreography Mihai Mihalcea (Bucharest, Romania) interpretation Mihai Mihalcea, another dancer and an actress coproduction MM & Solitude Project, Multi-Art Dans Centre, Bucharest Surrounded by an alter ego mannequin and by a polyglot "witness-actress", the Romanian artist examines the solo in order to soliloquize about the difficulty of being alone on stage… It is an evolving solo, premiered in 1999, playing humorously and sensitively within a sphere of intimacy in order to question the position of artist today. Presented in Paris (Studio du Centre national de la danse) on 19 and 20 December 2002 New piece 2002 (coproduction) choreography Manuel Pelmus (Bucharest, Romania) coproduction Hebbel Theater - Berlin, Centre national de la danse - Paris, Theorem (association supported by the Culture 2000 programme of the European Union), Project DCM Foundation – Bucharest, Multi Art Dans Centre – Bucharest. With the support of Tanzquartier – Vienna and Kulturkontakt - Austria. Piece for 4 dancers, this new piece tackels personal memory, perceptions, and everything that constitutes the identity of a human being… « If it's life that interets me, how can I embody it in my performance without attacking its vitality, if it's the present moment I want to seize, how can I expose it on the stage without sacrificing the reality principle ? We have to ask "how" before we know what we are really doing. » (Manuel Pelmus) Presented in Paris (Studio du Centre national de la danse) on 19 and 20 December 2002 and in Hebbel Theater in Berlin in January 2003 Outcome choreography Manuel Pelmus (Bucharest, Romania) A man who is rolled up in a cable that is growing out of his head, monotonously unwinding himslef from it, moves outside of time, and explores the origins of his identity almost in a meditative way before eventually tearing himself apart. Presented in Hebbel Theater, Berlin : Tanz im August, 24 and 25 August 2002 En silence choreography and interpretation Nikolaï Schetnev (Arkhangelsk, Russia) music Chopin production "Another dance", Arkhangelsk, Russia It is said that any kind of solo is actually a duet between the dancer and the space, time, spectator, etc. Schnetnev’solo is absolute, the hero is ideal and un-environmental influences cannot touch him. He finds ths sources for movement within himself, as his body talks to him. He only he notices the world around him occasionally as it prowides new material for his inner symposium where several withdrawn Koljas have gathered to drink tea and talk. Presented in Paris Quartier d’Eté : 17-20 July 2002 and in Hebbel Theater, Berlin : Tanz im August, 24 and 25 August 2002 All these Apropos concept and choreography Magdalena Reiter (Poland) music Mazzol, D.Troop interpreters Magdalena Reiter and Katarzyna Chmielewska production X-group (Parts&Brussels 2000) Beckett's short story Enough served astyhe creators’ inspiration for his impressive, intimate pas de deux in which they gradually generate the atmosphere of intimacy between friends in a sophisticated fashion and with the mythical grace of two female energies. The focus is on communication and relationship-but also on feminity as celebrated in black dresses like spider webs that barely conceals the dancers’ breasts. Physical intimacy, variations on movement in sync, completing the partner’s step variations, and parallel impulses provide a harmonizing means of communication. This piece of choreography is a meeting point between literature and dance and to some extent its theme is embodied in the text. The dancers speak in a text of prose and verse at first, but then move on to a similar language of movements. Once the spoken words are uttered aloud we find their content cannot be understood, their meaning escapes us. Through the microphone, the dancers shout out orders, slogans and incomplete sentences. The sentences stir up uneasiness and cannot be completed. They are the ruins of a text that cannot communicate anything. Just as in Beckett, the words are as a trap. In the interplay of the bodies however, the rhythm of their breath, and in their shared dynamics and calmness there is specific content and coherence. The choreography releases unusual moods in the space. It radiates with the serenity of the Zen garden as well as with erotic tension, working with both the symptoms of misunderstanding and with the intimacy of shared secrets. Presented in Hebbel Theater, Berlin : Tanz im August, 24 and 25 August 2002 Fiction of objects "no.41, 11 Iunie Street" objects choreography (installation) Vava Stefanescu (Bucharest, Romania) "If I had realized that what was happening to me was real, nothing would have finally happened in the end or I would have died. Our existence carries illusions, we believe in them more than we believe in reality. It is enough for us to be present where our illusions and desires call us." A short choreographic essay with objects where the presence of characters is built – in absentia - through visual and audio images of facts; facts surround and define the characters though their actions." “My work is meant to be site-specific: that means if I come to a new place, I would like to use the sound and the objects that are characteristic of this place. So, I can record and edit the sound and video there, and choose objest to have on the stage from there. Up untill now I have used objects that move ‘alone’(electric), as well as a video projector." Presented in Paris (Studio du Centre national de la danse) on 10, 11, 13, 14 December 2002

Sol.East Choreographic Projects(Romania, Estonia, Russia, Poland, Czech Republic)

Sol.East
Choreographic Projects
(Romania, Estonia, Russia, Poland, Czech Republic)