Le roi est mort, vive le roi
El rey ha muerto, larga vida al rey
De König isch tot, lang lebt de König.
Король мертв, да здравствует король.
Der König ist tot, es lebe der König.
The king is dead, long live the king.
Regele a murit, trăiască regele
Kein sicherer Boden, keinem dem man vertrauen kann, doch ein grosser Kampf um den Erhalt des eigenen Status. Shakespeares Welt erinnert heute mehr denn je an unsere Gesellschaft. Zwar sind es keine König:innen, die um den Machterhalt kämpfen, doch die Beziehungsstrukturen und Kämpfe gleichen sich. Also: was können wir aus der Geschichte lernen? Was mitnehmen? Und wie weitermachen?
Die Fortsetzung der Königsdramen entwickeln Alexander Stutz, Melanie Oșan und das Ensemble. Damit laden sie zu einen Trip durch die Vergangenheit ins heute ein.
ADHS oder: Ein Resonanzkörper im Raum ist eine sinnliche Rekonstruktion verschiedener Wahrnehmungsweisen einer Person mit ADHS/ADS: Eine szenische Abfolge von unterschiedlichen Aufmerksamkeitsformen:
Ein endloser Teppich durchläuft den Raum, ein Vogel pfeift, der Klang stürzt durch die Nebelmaschine; eine Trommel wird zerlegt, die Sihl rauscht; es rieselt Popcorn: Umspült vom Bühnenraum, improvisieren zwei Schlagzeuger: Sie lenken das Publikum über ein Terrain der Gleichzeitigkeiten, der Konzentration, der Streuung: Ein Körper in Resonanz.
AS TIME ALWAYS FLOWS, THE STILLNESS SEEMS TO EXIST CONSTANTLY. THE GAP BETWEEN ONE TASK AND THE NEXT ONE. WE CALL IT TIME WASTE. NOT PRODUCTIVE, NOT ACADEMIC, NOT INTELLIGENT. IT COULD PROBABLY BE INTUITION OR SOME CURIOSITY, WHICH CAUSES US TO BE TRASHY. BUT WE ARE STILL FLOWING, WE HANG OUT WITH OUR SPECIES, WE DANCE AND WE WASTE TIME. THE GAP, THE MYSTERIOUS IN-BETWEEN ___ THAT WE EXPERIENCE AS INDIVIDUALS. WASTING TIME IS A SCARY EVENT, IN THE CONTEXT OF NO TURNING BACK, AS NATURE RESOURCES, AS GONE LOVERS, TAKE THE GOOD INTO AN EMPTY VOID.
COULD WE? REALLY? BE ACTIVE FOR WASTING? STANDING IN THE MIDDLE OF COORDINATE XYZ, THE NORMATIVE OF MEDIA - OUR TERRITORY IN THIS E, Z, T, X, Y GENERATION. DEVELOPED THROUGH THE UNKNOWN. THE DANGER CONTINENT, WHERE THERE SPROUTS UP THE FRUITY INTELLIGENCE OR REFLECTS THE BLURRY NEIGHBORS, SOMETIMES IT FILLS THE EMOTIONAL TIDE. GRAB A GLASS OF SENSITIVE SMOOTHIE THEN SUCK IT WITH OUR MIND, YEAH, SUCK IT. TIME WASTE IS TO HARMONIZE THE LOST STRUCTURE, THE UNWANTED SWEETNESS, WHICH WE WOULD RATHER FORGET. COME ON, LET’S HURRY TO THE WASTED VALLEY, WHERE MUDDY REALITY GROWS THROUGH OLD STORIES. TAKE THESE GAPS AS EVENTS. THEY WILL MAYBE SHOW UP LATER. AS A DELAY.
Connectiv ist ein methodisches Tanzspiel für Tanzlehrer*innen. Das Spiel betrachtet den Tanz aus der Sicht der Faszien. Der Tanz beinhaltet intuitiv viele Qualitäten, welche die faszialen Strukturen unseres Körpers brauchen. Der Tanz muss sich demnach nicht neu erfinden, sondern die Frage ins Zentrum stellen, mit welcher Intention Bewegungen ausgeführt werden können. So dynamisch wie die Faszien gestaltet sich auch das Spiel. Gerade die Vielfalt und Diversität der Anwendungsmöglichkeiten ist wichtig, da es nicht bloß einen einzigen richtigen Weg gibt.
This project is inspired by my experience in clubs. I questioned myself about the notions of body – image – movement – space – and transformation. How does an individual become a body, then a shadow and finally a figure? How the music, the lights, the temperature create an environment conducive to a real or not real metamorphosis.
My Bachelor Project developed on the same theme of my thesis: water, sound and movement. These three elements are connected one to the other. I made a video that is trying to express how the body is affected by water, how water is producing mystical natural sounds and how movement is creating a sound itself through breathing. Water moving is like a dancing body: the beginning of my video shows how the water vibrations are similar to the muscles waves. As sound track I decided to put the orginal recording of water falls, lake and river, my breathing and a piece from the duo “Hang Massive". These lasts are playing hang drum which is reminding me a lot the sound of water drops falling into a endless universe. The aim of my video was to put in practise what I discovered with my researches for the BA thesis. With a deeper knowledge of the subject I was able to have more possibilities in the body and imagination. Water has memory and is able to record the vibrations of the surroundings. With my dance I tried to radiate positive feelings to the water and all the landscape, so that my dance could treat them. The video is filmed in Rivaz on the Leman Lake. The courtmetrage is developed aside of river, waterfall and lake. Three different ways of water express itself. My movement research started diving my body in water, understanding which kind of resistence water was giving to the muscles. Further on I reproduced it outside of water, swimming and floating in the air. In the video I also decided to Play with the different energies: the river with its currents is a metaphor for life evolving, never being the same (river water is never exactly the same ); the lake folds are representing the smooth movement of life; the water fall is the practical explanation for the following quotation “Ce qui conte c’est pas la chute c’est l’atterrissage” (what matters is the landing not the falling). Being water, being energy, becoming just a vibrating body in the middle of the universe, this is the main idea behind my research.
“Be like water making its way through cracks. Do not be assertive, but adjust to the object, and you shall find a way around or through it. If nothing within you stays rigid, outward things will disclose themselves. Empty your mind, be formless. Shapeless, like water. If you put water into a cup, it becomes the cup. You put water into a bottle and it becomes the bottle. You put it in a teapot, it becomes the teapot. Now, water can flow or it can crash. Be water, my friend.” by Bruce Lee
This thesis analyses and investigates possible strategies in designing sound for a science fiction film. I have studied various sonic approaches from the likes of Delia Derbyshire and Walter Murch, whose innovative methods have provided an invaluable reference for applying a similar ethic to sound on the film Planet Hora, practical examples of which I will outline in greater detail. The context of my research has its basis in the complex and continuous process of listening and reciprocity, that which is shaped by circumstance or a sonic landscape that expands and extends beyond merely the functional aspects of sound design. This creates an evolving multiplicity of possible worlds, temporal spaces and unexpected occurrences from which I can speculate, extract, reconstruct and articulate a coherent and creative sonic vision. I will highlight practical compositional and sound design examples from Planet Hora. I will also discuss more subjective modes of creation in my own personal practice and how this relates to sonic interpretation and aesthetical choices. The central motivation of this research is two-fold, to propose a non-linear paradigm for thinking about sound in film and to advocate for a more intersectional methodology in sound creation.
For a long time, the women in art existed only as a model or as a muse. She existed only as a painting or as a sculpture. She was only a body, a shell and the inspiration for the man to help his creative drive. At the same time, the gender relations were so engraved, that the woman as an artist did not exist.
This reduction to the body, was what I played with in the process of my project. But not only the woman in the role of a muse accompanied me as an inspiration. Also the detachment from the sole existence as a contentless body and the way to the self-realisation as an artist was part of my movement research.
What are our needs?
What do we want?
What are we feeling, thinking, and seeing?
Where are we and what is around us?
In my project I want to show that we need love, warmth, and devotion. Love, warmth, and devotion from each other as well as from the
environment, from the nature, but most important from ourself. My goal was to let everything melt together to one creation with a
meaning.
My Bachelor Project is a short film called “Behind the curtain.” It’s mostly about the daily life of a ZHdK contemporary dance student. The second years of the Bachelor program were very kind to share their personal stories. You also see them in rehearsals, ballet training and improvisation. My intension for this project was for the audience to see the process and hard work of a dancer. Not only watching the performance on stage but also getting to know the dancers on a more personal level.
Das Wind Tunnel Bulletin wird vom Forschungsschwerpunkt Transdisziplinarität (fsp-t) produziert und herausgegeben, um Materialien aus der eigenen Forschung zu teilen. Die Publikation ist an der Grundlage ausgerichtet, dass Forschungsergebnisse für alle verfügbar sein sollen und dass das im Falle der Kunst bedeuten kann, dass andere Künstler_innen mit den zur Verfügung gestellten Materialien neue Werke schaffen.
Es handelt sich um eine in fortlaufenden Nummern erscheinende hybride Publikation, die online frei zugänglich ist (in einer Web-Version und als PDF-Download), aber auch als Printpublikation über den fsp-t sowie über ausgewählte Buchhandlungen bestellt werden kann.
Die Web-Version setzt die in die Publikation integrierten Bildtafeln dynamisch ein, d.h. sie bewegen sich beim Scrollen durch die Seiten mit und schaffen so neue Bezüge zwischen den Inhalten (Text und Bild).