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/Performance Work

How it Molds into the Shape of their Skin

A durational performance at the Staatsgallerie Stuttgart.

A piece that took place in the same rooms where works by Pablo Picasso, Franz Marc, Roy Lichtenstein, Mark Rothko and the iconic Triadic Ballet by Oskar Schlemmer can be seen.

Concept, Choreography, Performance: Sebastian Barbanell

Performers, Co-Creation: Stella Covi, Dario Wilmington

Photography, Videography: Rowan Schratzberger

Wetland

“Welcome to Wetland , a wet, queer place that liquefies supposedly fixed assumptions, ways of thinking and categories. On a stage floor modified with water, the performers enter into a slippery confrontation with their permeable bodies. Wetland is a wetland that not only manifests itself as a metaphorical-political space, but also emerges on stage as a material-real place in which binary structures seep away like a swamp. The choreography merges virtuoso sliding technique with a queer perspective, a pleasure-celebrating approach with pop culture influences, and forms a stream that undermines our overly stable, comfortable ways of thinking.

In examining hydrofeminist discourse theory, Katharina Senzenberger and her accomplices embark on a search for the transformative potential of water in relation to space, body and corporeality. They draw attention to the porous relationships of our watery bodies. They invite us into the zone of emergence, assembly, reproduction, divergence, differentiation, merging. A fluid border space whose edges are in constant fluctuation. Where two complex systems meet, touch, collide and transform each other.”

Just recently, Wetland has been selected by the Tanzplattform Deutschland 2024 as on of the most influential dance pieces of the last two years.

Concept, Choreography, Performance, Lighting, Production: Katharina Senzenberger

Performance, Co-Creation: Stella Covi | Pin-Chen Hsu (original cast), Ibai Jimenez Gorostizu-Orkaiztegi, Vivien Kovarbasic | Magdalena Forster (original cast), Benze C. Werner

Music, Composition, Sound: Isabella Forster

Stage Design: Renate Mihatsch (revision), Christi Knak Tschaikowskaja (original version)

Dramaturgy: Valerie Wehrens

Production Assistance: Marlen Pflüger

Stage Design Assistance: Agnes Müller, Mail Benger

Technical Realization: Anna Lieber

Photography: Nathan Ishar

Cabaret

Cabaret is based on the autobiographical short stories of the British-American writer Christopher Isherwood (1904-1986). Attracted by the reputation and sexual promiscuity of the city of Berlin.

Staging: Calixto Bieito

Musical Direction: Nicholas Kok

Choreography: Juanjo Arques

Dramaturgy: Ingoh Brux

Stage: Helen Stichlmeir, Calixto Bieito

Performers: Stella Covi, Marco Ciullo, Luis Hergon, Carla Baumgartner, Lara Neuser, Ronja Sahra Steinacher, Felipe Ramos, David Hegyi 

Photography: Toni Suter 

In the Country of Last Things: Chapter 2

If the first piece in the trilogy danced two complementary declensions of man in the chrysalis stage, i.e. in a stage of becoming but intrinsically burdened by passive acceptance, in which the world presses in from outside as a necessary phenomenon, in this only the protagonist has internalized change.

If, from a Hegelian point of view, we can recognize in both dancers a synthesis, a dialogue undergone with a painful antithesis external to both, in this case the dancer has completed her ascent to the state of synthesis, where change is no longer undergone but acts. The dancer's body and mind are now strong enough to allow her to kill herself and be reborn, just as the butterfly is ready to let go not only of the chrysalis that contains it, but also of the caterpillar that once was. In this piece, not only is it sufficient to contain itself, but it also shapes the carriage to contain the consciousnesses obtained during its transformation, represented by the objects inside. The idea of plumbing the depths of meaning of the 'last things' that remain points to the end of the world imposed by others for the protagonist, as part of a very personal path of self-determination, in which one can also explore contradiction and the opposite within oneself.

Concept, Choreography, Lighting, Production: Elena Cattardico

Performance, Co-creation: Stella Covi

Music, Composition, Sound: Edoardo Nocco

Sleep Dancing II: The Open Palm

Sleepdancing II: The Open Palm is the second chapter of an ongoing series of collaborative performance projects between Max Levy Choreographic Works and digital art duo Cosa Mentale building an atmospheric experience where performers, motion-capture, and music coalesce in an unique environment between meditation, relaxation and sleep. While the first chapter Are e Luar brought dance through film into the privacy of the bedroom, blurring the lines between reality and the dream world as much as those between dance and film, this second installment takes a different approach.

Concept, Direction: Max Levy

Choreography: Max Levy in cooperation with the performers

Production and Artistic Assistance: Patscharaporn Distakul

Performers:  Stella Covi, Noemi de Rosa, Jerneja Fekonja

Digital Artwork: Cosa Mentale, Celia Bétourné, Louis Cortes

Composition: Max Levy

Photography: Jubal Battisti

Videography: Jubal Battisti

Production Management, Communication: Verena Strasser

Richard Wagner seems to belong to a bygone era - the late romantic posturing of an

Elite, educated middle class. Can Wagner's opera "Tristan and Isolde" - this "underbody music", as Heidegger teased - be told in a different way? Completely without pathos – mild and quiet? For once without this endless longing for love and death? For example, as a very common everyday story? Probably not. But you can dance it like that! And together - namely as an expression of a co-creative, mancipatory-participatory process from the conception through public rehearsals to the performances of professional dancers, citizens interested in dance, the audience and... yes, wire-haired dachshunds. And so people and dogs meet not only on stage, but also in the title: “Tristan, Isolde und Petitcru”.

Conception, Choreography, Direction: Katja Erdmann-Rajski

Performance, Co-creation: Saskia Hamala, Elena Cattardico, Stella Covi, Sonia Lautenbacher

Lighting Design: Carolin Bock

Music: Richard Wagner

Photography: Marco Grisafi

Tristan, Isolde und Petitcru

Upcoming Performances

  • In the country of last things: Chapter 2

    Upcoming Dates

    To Be Announced

  • Cabaret, Schauspiel haus Stuttgart

    Upcoming Dates

    November 4, 2023

    December 4, 5, 6, 31, 2023

    January 12, 2024

    February 17, 2024

    March 9, 17, 2024

    April 1, 19, 2024

    May 2, 2024

    June 1, 2024

  • Lucia di Lammermoor, Staatstheater Nürnmberg

    Upcoming Dates

    November 5, 11, 17, 19, 26, 2023

    December 9, 19, 30, 2023

    January 13, 22, 25, 2024

  • Ich bin dein Labyrinth, Lockstoff!

    Upcoming Dates

    May 16, 23,30, 2024

    June 6, 2024