The Intruder – An Autopsy
FFT Kammerspiele 19€/11€ (erm.) Ticket - buy now
There will be an audience talk on 29th nov
In her new work, dance director Helena Waldmann takes a long hard look under the skin, into the inner workings of the body and, simultaneously, into the inner workings of the “state” system. What intrudes from the outside is perceived, both in medicine as well as in politics, as a “foreign body”. Yet neither a physical body nor a state territory can truthfully achieve full seclusion from the outside world. There is more: It is common knowledge in medicine that only those organisms survive that are prepared to adapt. Waldmann transforms this insight into images both striking and surprising. One example are the kick pads her performers use to cushion themselves in, carrying the visualisation of protection into its extreme.
As always, Helena Waldmann succeeded in assembling a production ensemble that features performers with very special talents. She gathered the requisite previous knowledge during a trip to visit the dancers and choreographers at the Institute for Dance und Performing Arts, West Kowloon Cultural District Authority, Hong Kong, during last winter. Despite the exceptional profile of requirements, Waldmann found three dancers in Ichiro Sugae, Tillmann Becker and Mattia Saracino who had mastered martial arts. Together with Telman Brano, featured in the piece as a vocal artist, they adduce evidence that martial arts strategies are astoundingly similar to the strategies our own bodies employ: Neutralise an opponent’s force by means of incorporation.
Seit Helena Waldmann vor 15 Jahren mit Auftrittsverbot belegte iranische Frauen in Einmann-Zelten tanzen ließ, ist ihr internationale Beobachtung und Anteilnahme sicher. Seitdem produziert die Ausnahmekünstlerin regelmäßig für die internationale freie Szene, immer mit einem neuen thematischen und stilistischen Ansatz und folgerichtig auch mit einem neuen Team für ein neues Thema.
Helena Waldmann counts among the most idiosyncratic artists on the current theatre landscape. She studied Applied Theatre Studies at Gießen University, going on to work with Heiner Müller, George Tabori, Gerhard Bohner and others, guesting in Düsseldorf throughout numerous cooperations with FFT Düsseldorf. She presented her global success “Letters from Tentland” with six Iranian women as well as the anarchic and stunning evening “feierabend” – das gegengift” and the impressive solo “revolver besorgen”, a play about oblivion. Waldmann reinvents her art with every new piece. Accompanied by a team of experts, she conducts deep drills into the sore spots of our times, in a world whose potentiality we hardly seem to tap.
Performance: Tillmann Becker, Telmo Branco, Mattia Saracino, Ichiro Sugae. Concept & Dance Direction: Helena Waldmann. Lighting: Herbert Cybulska. Musical Direction: jayrope. Music: Jerry Goldsmith, Jean-Philippe Rameau, Astor Piazzolla, Rashad Becker, jayrope & Niklas Kraft jayrope & Lippstueck, Arne Deforce / Mika Vainio. Video: Anna Saup. Holographic Projection: Michael Saup. Costumes: Judith Adam. Assistant Costuming: Nora Scheve. Training & Counselling Martial Arts: Aljoscha Tursan. Technical Direction: Carsten Wank. Audio Engineer: Stephan Wöhrmann. Production Management: Claudia Bauer. A production by Helena Waldmann and ecotopia dance productions in coproduction with Pfalzbau Bühnen Ludwigshafen, FFT Düsseldorf, Tafelhalle Nürnberg, Tollhaus Karlsruhe. With friendly support lent by Pumpenhaus Münster. Supported by the NATIONAL PERFORMANCE NETZ coproduction grant dance. With support granted by the Federal Government Commissioner for Culture and the Media.
Part of the international performance series Eve of Destruction, supported by the Kunststiftung NRW.
Eve of Destruction