2018 / 4 performers / stage: 10 x 10 m / 0:40 h:
ABOUT THE PIECE
// Premiere: March 2, 2018, Theater im Ballsaal Bonn
// In collaboration with: Théâtre du Crochetan Monthey, Malévoz Quartier Culturel, Ringlokschuppen Ruhr Mülheim, Theater im Ballsaal Bonn
// Funded by: Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen, Bundesstadt Bonn
and within the frame of the residency programme: Théâtre-ProVS, Le Conseil de la Culture Etat du Valais,
La Loterie Romande
The bodies seem extremely tense, as if they were trying to oppose themselves against the recurring, seizure-like limb twitching caused by an invisible electrical energy. Something seems to be pressing out of her torso, trying to emerge like a still unrecognizable figure. But the upper body and the hips are still holding up, the hybrid beings on the floor seem to be connected as if held together by brackets and hinges, yet it does not come to the final burst. Instead, the couplings of organism and machine are beginning to better control the flows of energy, they now drive out expansively in parallel and in surprisingly different formations that remind us of structures of flora and fauna, tribal dances and rites, and evoking a hypnotic fascination one can not escape.
VIS MOTRIX is already the second production which has been developed in several stages over the course of months as a part of the company’s "triennale", 3-year residence in the Swiss canton of Valais. Like MOMENTUM, which was initially inspired by an exchange with the non-academic movement patterns of Parkour, VIS MOTRIX started out with a workshop and subsequently independent research on the (male-dominated) techniques of breaking and krumping, and modifying and transforming these street dance styles with regards to hybrid and post-human energies and impulses.
// By and with: Fa-Hsuan Chen, Martina De Dominicis, Tanja Marín Friðjónsdóttir, Susanne Schneider / Marie Viennot / Choreography, direction: Rafaële Giovanola / Composition: Franco / Light, space: Gregor Glogowski / Costume: Annika Ley / Choreographic Assistant: Leonardo Rodrigues Photos: Klaus Fröhlich / Dramaturgy, concept: Rainald Endraß / Management: Mechtild Tellmann
Trailer: Michael Maurissens/ Carré Blanc Productions
"... these bodies here seem like aliens. Alien in the form, alien in the movement, alien in the outfit. They seem to come from another world. Not human, not animal, not machine - and yet something of everything: hybrid beings as they display through their movements. (...) In the last part of the piece, the lighting design gives the female dancers their faces back, they become more human. The floor is no longer their only element. (...) In this VIS MOTRIX part, arms and legs not only now shoot aggressively upwards, but the dancers also slam their legs loudly on the floor. Finally, one would almost like to say with relief, finally. The dancers, Fa-Hsuan Chen, Martina de Dominicis, Tanja Marin Friđjónsdóttir and Susanne Schneider, are above all the ones who are strengthening the hybrid choreography by Rafaële Giovanola - oscillating between human and animal - through their strong presence."
(Klaus Keil, tanzweb.org, 04.03.2018)
"Fascinating Organism - CocoonDance creates with "Vis motrix" a female counter-project to its male-only predecessor production 'Momentum'. (Headline)
'Vis motrix', which stands for moving force, is, from the outset of its entire concept, directed towards a higher level of abstraction. It is notable that certain movement patterns of breakdance and its more aggressive variation Krumping are reflected in the movements - already the first twitching of the chest apparently derives from it. However, in the piece at the Ballsaal Theatre CocoonDance choreographer Rafaële Giovanola is just using these models to create something completely new.
Until the end, the female performers stay in a position with their backs turned to the floor and their faces looking up to the ceiling. Over the course of the piece, as the movements become stronger and the pulse of Franco Mento's music intensifies, they are never really able to leave that position. As hard as they try to get off the floor, standing up or jumping up on all fours, they always seem to be tied down to the ground by an invisible band.
For Fa-Hsuan Chen, Martina De Dominicis, Tanja Marin Fridjonsdottir and Susanne Schneider, it must be a tremendous challenge to endure for 45 minutes such an extreme body tension. They master it with bravery. Like insects they are gliding across the floor, turning 180 degrees in a flash, moving their limbs with a sudden jerk, and thereby creating for the spectator something that strangely oscillates between a biological organism and a mechanism. And that is very fascinating. Appropriately, the performance last Saturday ended in a strong applause. This unusual and exciting three quarters of an hour long evening would have deserved a few more spectators. (Bernhard Hartmann, General-Anzeiger Bonn, 05.03.2018)
"Fa-Hsuan Chen, Martina De Dominicis, Tanja Marin Friðjónsdóttir and Susanne Schneider are doing this kind of dance very intensively, to sheer perfection, fluently and with an admirable sense of timing!"
(Jürgen Bieler, Bonner Rundschau, 09.03.2018)
"Reine Bewegung lässt sich nicht sichtbar machen, aber wir erahnen ihre ebenso zauberhafte wie mechanische Wirkung im Innern alles Lebenden.
Zunächst liegen Fa-Hsuan Chen, Martina de Dominicis, Susanne Schneider und Marie Viennot auf dem Schwingboden der Orangerie des Volksgartens, dann stellen sie die Arme hinter dem Rücken auf und bewegen sich auf Händen und Füßen in der Waagerechten. Raphaele Giovanola bietet ihrem Publikum dabei einen Blick auf den weiblichen Körper, wie man ihn noch nie gesehen hat. Allein für diesen visuellen Geniestreich verdient diese Produktion Beachtung.
Nur kurz gegen Ende richten sich die schwarzen Gestalten auf, zuvor erleben wir sie als Amphibien, graziös und so raffiniert im Timing, dass Wiederholungen immer wieder Anlass für ebenso elegante wie humorvolle Überraschungen bieten.
Das Schattenspiel in der Lichtregie von Gregor Glogowski multipliziert die Silhouetten der Tänzerinnen virtuos, während der dezent pulsende Elektrosound von Franco Mento das Spektakel erdet.
CocoonDance zeigt, wie unterhaltsam eine Produktion sein kann, die mit strengem Formalismus entwickelt wird
und mit mathematischem Kalkül die Kombinationen von vier Körpern im Raum durchspielt."
(Thomas Linden, Kölnische Rundschau, 20.03.2018)