Mein Name ist Martin Svidron. Ich komme aus der Slowakei, lebe aber schon seit fünf Jahren in der Schweiz. Tanz und Interesse an Tanz haben mich seit frühester Kindheit auf verschiedenen Wahrnehmungsebenen begleitet und mein erstes Tanzstudium habe ich an der Tanz Akademie Kosice in der Slowakei absolviert. Tanzkunst sehe ich als imaginäre Reise, die über das Räumliche und Zeitliche hinausgeht und für das Besondere, das Poetische, das Melancholische, das Menschliche, das Magische als meine Realität und Sicht auf die Welt eine Darstellung bietet. Diese Reise ging für mich an der Zürcher Hochschule der Künste bei dem Studium Contemporary Dance weiter. Schliesslich gibt es nichts Schöneres, als zur richtigen Zeit am richtigen Ort zu sein und das Privileg zu haben, diesen wunderbaren Beruf auszuüben – Tänzer zu sein.
DIPLOM PROJEKT
MILLENNIUM - Retours à non retournables
Menschliche Energie, Gott und Glaube in der Harmonie und im Kontrast des modernen Denkens. Ja, die Metapher der Menschheit und der Welt des dritten Jahrtausends.
Luke has started his dance career in Malta by taking part in various projects such as ZfinMalta Dance Company and Moveo Dance Company while having his training in Malta. This ambition led Luke to carry on with his dance training and education in Italy and later to being offered a place to continue his studies at the Zurich University of the Arts(ZHdK) and selected as an intern at JV2(Jasmin Vardimon). Luke has worked with various choreographers such as Jasmin Vardimon, Ihsan Rustem, Mohammed Kaltuk, Dunja Jocic, David Arias, Vinicius Salles among others. In the meanwhile attended workshops with Akram Khan Dance Company at Sadlers Wells, Humanhood, Kerry Nicholls, Alleyne Dance in the UK and at Kibbutz Dance Company in Israel. Luke also performed with the Zugraga Dance Company and in festivals such as Malta International Arts Festival with choreographers with Oded Ronen, Gil Kerer and Zoe Camillieri, Malta Dance Festival and Notte Bianca in Malta while also freelancing in Switzerland and Malta and performing in Holland, Germany and the UK.
DIPLOMA PROJECT
«Among You»
Luke Bugeja Gauci developed the dance piece «Among You» in partnership with artists from various platforms. To go deeper into his dancing research, it was built around risk, research, and results
My name is Dave Lankhorst. I started dancing in 2006 at the Vlaardingse Ballet Akademie
and was accepted at Codarts in 2010. After graduating in 2019, I decided to study at the
Zurich University of the Arts. During my studies, I performed and worked with worldrenowned
choreographers. In 2021, I secured an internship contract with Scapino Ballet
Rotterdam, where I had the opportunity to participate in big productions such as ""Oscar"" at
the Royal Theater Carré and as a guest dancer in the 2022 Christmas production of The
Dutch Don't Dance Division in The Hague. I am looking forward to what the future will
bring.
DIPLOMA PROJECT
Respiration
«Breathing in, I calm my body. Breathing out, I smile. Dwelling in the present moment, I know this is a wonderful moment.» - Thich Nhat Hanh
As dancers, artists, but most importantly as human beings, breathing is a vital part of our lives. We can go for days without food, water or even sleep. But to be able to live, we can not go without oxygen. Breathing is more than a need, it can help relax, and benefits for the body and mental health. Our breathing is directly related to nature; it is a constant circular process. We as living beings breathe out, and in return we get our breath back from nature.
Music & Sounds:
- When we were that what wept for the sea by Colin Stetson
- Bird Sounds Spectacular : Morning Bird Song by Paul Dinning
- 1 Hour of Heavy Breathing by Random Sounds For Editing
My name is Lukas Bisculm and I was born and raised in Zurich. At the age of six, I attended my first dance lessons in hip-hop and later also in jazz and modern dance at Demierre Moving Dance. In 2020, I completed a dance diploma at the ZTTS before starting my bachelor's degree in contemporary dance at the ZHdK. During my studies, I worked with Dunja Jocic, Bryan Arias, Luca Signoretti, among others. For the Season 2022/23 I am a member of Tanz Münster Studio, the youth development program of Tanz Münster/ Theater Münster and I’m dancing in ""The Four Seasons"", ""Furien"" and ""Silberlicht"" by Lillian Stillwell as well as in the interdisciplinary play ""Am Rande des Rollfelds"" choreographed by Judith Sánchez Ruíz.
DIPLOMA PROJECT
«ACID DANCE»
«ACID DANCE» is an improvisational dance journey to unlock a
different state of mind. Through my research about How to dance to
Acid Techno, I created an improvisation structure inspired by the
concept of ecstatic dancing and combining it with aspects of the
rave culture.
„Super fast rhythms accelerate the heartbeat - extreme sound
frequencies stimulate until ecstasy”
-SWR news about subcultures (1990)
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BIOGRAFIE
Mein Name ist Lukas Bisculm und ich bin in Zürich geboren und aufgewachsen. Mit sechs Jahren besuchte ich meine ersten Tanzunterricht in Hiphop und später auch Jazz und Modern Dance bei Demierre Moving Dance. Im 2020 absolvierte ich ein Tanzdiplom an der ZTTS bevor ich mein Bachelor in Contemporary Dance an der ZHdK begann. Im Studium arbeitete ich u.a. mit Dunja Jocic, Bryan Arias, Luca Signoretti zusammen. Für die Spielzeit 2022/23 bin ich Mitglied von Tanz Münster Studio, der Nachwuchsförderung von Tanz Münster/Theater Münster und tanze in „Die vier Jahreszeiten“, „Furien“ und „Silberlicht“ von Lillian Stillwell und im Interdisziplinären Schauspiel „am rande des Rollfelds“, Choreografie von Judith Sánchez Ruíz."
Diplomprojekt
«ACID DANCE»
«ACID DANCE» ist eine improvisations Tanzreise, um einen anderen
Geisteszustand freizusetzen. Durch meine Recherche über How to
Dance to Acid Techno habe ich eine Improvisationsstruktur
geschaffen, die vom Konzept des ekstatischen Tanzens inspiriert ist
und es mit Aspekten der Rave-Kultur kombiniert.
„Superschnelle Rhythmen beschleunigen die Herzschläge – extreme
Tonfrequenzen stimulieren bis zur Ekstase”
-SWR Bericht über Randgruppen (1990)"
I was born and raised in Kerns, Switzerland, and received my dance training in classical ballet and Contemporary Dance in Lucerne and Zurich. At the same time I obtained my Matura from the Kantonsschule Obwalden before entering the BA Contemporary Dance program at ZHdK in 2020. There I danced in choreographies by Bryan Arias, Nadav Zelner, Luca Signoretti, Dunja Jocic and Alba Castillo, amongst others. In my final year of studies I was part of the dance company at Theater Plauen-Zwickau as an intern and had the opportunity to work with Sergei Vanaev and Mário Radačovský.
DIPLOMA PROJECT
«Framework»
«Space is a hidden feature of movement and movement is a visible aspect of space.» (Rudolf von Laban)
The diploma project of Lia illustrates the interdependent relationship between dance and space. Dance needs space to unfold, and space is actively shaped by the dancer. This interdependence is artistically expressed by a duet of two dancers exploring their relationship between each other as well as to their distinctive environment.
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BIOGRAFIE
Ich komme aus Kerns im Kanton Obwalden. Meine Tanzausbildung in klassischem Ballett und zeitgenössischem Tanz erhielt ich in Luzern und Zürich. Parallel dazu absolvierte ich die Matura an der Kantonsschule Obwalden, bevor ich 2020 das Studium BA Contemporary Dance an der ZHdK begann. Dort tanzte ich u.a. in Choreografien von Bryan Arias, Nadav Zelner, Luca Signoretti, Dunja Jocic und Alba Castillo. Im Rahmen meines 3. Studienjahres war ich als Praktikantin Teil der Tanzkompanie am Theater Plauen-Zwickau und arbeitete dort mit Sergei Vanaev und Mário Radačovský.
DIPLOMPROJEKT
«Framework»
«Raum ist ein verborgener Grundzug der Bewegung, und Bewegung ist ein sichtbarer Aspekt des Raumes.» (Rudolf von Laban)
Das Diplomprojekt von Lia beleuchtet die wechselseitige Beziehung zwischen Tanz und Raum. Tanz braucht den Raum, um sich entfalten zu können, und Raum wird durch Tänzer*innen aktiv gestaltet. Diese gegenseitige Abhängigkeit wird auf kreative Weise durch ein Duett zweier Tänzerinnen umgesetzt, die sowohl ihre Beziehung untereinander als auch zur charakteristischen Umgebung erforschen.
Grazia Scarpato, was born in 2000 in Rieti, a small town near Rome, Italy.
From an early age, Grazia displayed a passion for the arts and began her studies in modern and contemporary dance when she was just ten years old.
She then expanded her training to include diverse range of techniques and styles.
She continued her studies at the Zurich University of the Arts in Zurich, where she started a bachelor in contemporary dance.
Grazia have danced in works by several renowned choreographers such as Nadav Zelner, Luca Signoretti, Alba Castillo, Dunja Jojic, Antonin Rioche, Tom Weinberger, and Bryan Arias.
Grazia has currently joined the TanzLuzern company as an intern for the 2022/2023 season.
DIPLOMA PROJECT
«Off-Kilter»
«Off-Kilter» is an idiomatic expression that means something is not quite right or is out of balance. It can also refer to a person who is acting in an unusual or unexpected way. Overall, it suggests that something is not in its proper or expected state.
The film uses the trail through the trees as a metaphor for time and the body's journey through it, offering a portrayal of how the effects of brain diseases can disrupt movement and balance.
Through specific movement qualities, the film explores how the body can get effected by symptoms such as tremors, stiffness, slowness, and loss of balance, providing a powerful visual representation of how the decline of the brain can affect the human body.
Ich bin Tänzerin, Tanzpädagogin, Choreografin und Mutter und lebe in Zürich. Tanz ist mein Mittel, mit der Welt zu kommunizieren. Ich unterrichte Kindertanz und leite in unterschiedlichen Kontexten Trainings für professionelle Tänzer:innen. Ich bin Mitglied von «Kollektiv F» aus Bern. Wir kreieren Stücke für ein junges Publikum und waren associated artist der Dampfzentrale Bern von 2017-2019. Ich interessiere mich für Formen eines gleichberechtigten Miteinanders, für soziale Codes in Körperarchiven und für künstlerische Formate, die physische Realitäten nebeneinander sichtbar
machen.
DIPLOMPROJEKT
«Die Idee findet ihren Weg»
Wann ist ein Kollektiv überhaupt ein Kollektiv und mit welchen Methoden gelingt kreatives Schaffen im Kollektiv? «Die Idee findet ihren Weg» ist eine Toolbox, ausgestattet mit einem Handbuch, einem Spielkarten-Set und
Joker-Karten. Gruppen, die sich zu einem kollektiv formieren oder sich mit kollektiven Vorgehen auseinandersetzen wollen, können sich im Spiel konkreten Situationen aus dem Alltag eines Tanzkollektives stellen und treffen darin gemeinsam Entscheidungen. Das Spielkarten-Set versteht sich als Gesprächsleitfaden und hilft, zu den Kernfragen des eigenen Kollektives vorzudringen.
My name is Jacopo Bellani, and I come from a beautiful italian island called Sardinia.
Since I was a kid, I have been inspired and fascinated by music and art. I started dancing when I was 7 years old, first with jazz and modern dance, and soon after ballet.
From 2013 to 2017 I have focused on ballet and its technique, and eventually, in 2018, I first approached contemporary dance.
I’ve always loved dancing and wanted to pursue it as a career, but, when you live in a small town with no theatre and little job opportunities for artists, choosing this path wasn’t easy.
I eventually decided decided to take the risk and follow my passion and dreams and became a professional dancer at 20 years old, when I auditioned for my bachelor in May 2019.
I'm currently finishing my first experience as an internship in the Stadttheater Bremerhaven.
DIPLOMA PROJECT
Look up to the Moon, Madame
The piece is about the story of a person who is in a strong crisis with him/herself.
In this case the person is interpreted by a woman (Veronica Scanferla), which is facing with a personal crisis with herself. She is so much detached from herself that a part of her which is the soul, phisically split from her. This part of her is rapresented by a man (Jacopo Bellani), the choice for that is to recall the image of ying and yang where there is a point of black into the white shape and a white point into the black one. The man will be the impersonification of her ambition, her creativity and artistic will, her soul and vulnerable part, in which she is now doubting and looking at it as a weaknesess to get rid off to put her apart.
It's the story of the dialogue between the two parts of her, a confrontation but also a struggle that will eventually find a resolution by the acceptance of herself, by finding her balance getting rid of all the prejudice from inside and outside. Her counterpart, the soul will be the one to save the protagonist from falling into pieces. The soul is the part that we tend to hide for the far of suffering and exposing ourself to the world but it's actually the most beautiful one, the one who inspire us as artist and person in general, the inner child whom is always with us.
I've been inspired by a song by Marracash called "MADAME - l'anima". The title it's a reference to this song but also of an image, the one of the moon a beautiful vision that break the darkness of the night, a way to say that it will never be too dark to find hope and get out of the worst crisis.
After working as a professional dancer for 24 years I felt the desire to fully embrace my other passions: Choreography.
In August 2020 I started a new chapter in my life in which my own creativity continues guiding me on a journey of stabilising my own choreographic voice and getting inspired by the artists that crosses my path, developing a dialogue that culminates in something honest and unique.
The MA Choreography at the ZHdK came into my life as a place to experiment, to connect and to expand my curiosity and gave me valuable tools that I will cary along my journey.
In January 2024 I am happy to start a new important role as the Artistic Director of Tanz & Kunst Königsfelden.
DIPLOMA PROJECT
Between you and me and…
For my Final Master Project wanted to explore the creative work as a
collaboration between me and the artists involved.
- To understand what my role as a choreographer is in a
collaborative process.
- To analyse how movement created by the dancers can be
translated into my own choreographic voice/signature.
- To examine my own process of finding the ownership of the piece.
- To expose my creativity through my artistic decisions of what is
originally created by others.
- To move away from my usual way of choreographing in order to
understand if this would become another way for me to work in
the future.
My Master Thesis looks at ways in which dance companies can streamline their working methods, organising more efficient and effective rehearsals for preserving the art of dance as a catalyst of emotional and narrative thought, as well as developing a pleasant and productive working environment. It presents a case study based on the work of George Balanchine with the New York City Ballet. The techniques he used as a teacher and ballet master will be evidenced. It looks at ways the ballet master can deliver the maximum amount of information in a minimum amount of time and to make sure that the information is applied and retained by the dancers.
The case study is based on the analysis of footage and resources in which dancers trained by George Balanchine present their experience of working with him and display their interest in finding ways to transfer the knowledge onto new generations. To offer a perspective, these examples are placed under the lenses of a theoretical framework of analysis composed by recent research in the field of education and applied to the professional dance context. Recent research in the field of pedagogy will be applied to the professional dance context and will highlight the way in which motivation, praise and feedback strategies facilitate skill acquisition and enhance performance.It becomes evident how the implementation of a dancer-focused approach, supplemented by feedback methods and the use of imagery contributes to the establishment of an efficient working environment, contributing to proficient rehearsals.
Working as a rehearsal director is both a logistical and creative challenge, where efficiency is essential for the development of the craft. I will be looking at the tools and techniques one can reach out to, for facilitating the rehearsal process. This ensures a proficient final product in an environment that focuses on the dancer. I considered the notion of a dancer-centred paradigm defined by Sarah Knox and explore it into the realm of the rehearsal process. In my research, I found very limited literature discussing the position of a rehearsal director, and even less discussing the complex nature of the rehearsal director’s role. The context of this study can reveal the intricate nature of the rehearsal process, as well as the diversity of the roles and experiences between dancers and rehearsal directors.