V dialogu s umělci*umělkyněmi z pohybového umění a souvisejících oborů reflektujeme materiál v naší dynamicky se rozvíjející profesi. Snažíme se porozumět tématům a fenoménům, které ovlivňují uvažování umělců a jejich uměleckou tvorbu. Díky partnerstvím napříč zeměmi vzniká prostor pro výměnu pohledů a obohacování kolektivních znalostí našeho oboru.
Napětí mezi jednotlivcem a skupinou v choreografickém pojetí bylo téma Pedagogického semináře 2022, který již tradičně pořádá SE.S.TA každým rokem na jaře. Seminář vedl Jean-Christophe Paré (FR), který patří v oboru analýzy choreografické tvorby mezi skutečnou špičku. A já měla možnost se s ním setkat mimo jiné i v tomhle výživném pedagogickém procesu.
The topic about public and intimate space emerged as theatrical space for dance and performing arts was challenged during the pandemic times. Artists around the world were searching for new ideas, concepts, or forms to stage their performances. Artists craved connections to the outside world and to their local communities, as did audiences. As theatres closed, artists were challenged to find new forms, venues, places or spaces to perform and share their work. The urge to share artwork was inevitable.
I’ve talked with Eva Urbanová – dancer, choreographer, dance maker – who was one of the residents taking part in this year’s Coaching Residencies, about her work on the piece she recently presented as her final work at HAMU (Academy of Performing Arts – Music and Dance Department). We’ve dwelled into the process of her work and the topics she was addressing together with eight performers coming from different backgrounds. We talked about the numb, hectic skin avoiding encounter and the vulnerability of becoming intimate with the other in her choreographic process.
The first edition of the Dance Reading Club series When the Dancers Know the Answers took place in the Living Room of Studio ALTA on Thursday 21 May 2020, and it hosted a two-hour-long discussion which started with the question: When the dance fails as a gesture? Observing how the piece Assemblage by Martina Hajdyla Lacová found its audience in the park due to the pandemic restrictions – sandwiched later with the video excerpts of performances mentioned in the discussed text Writing Laughter – Violent Desire by Jenn Joy – brought the discussion back to the core of what is the artistic gesture and why it requires gaps, stumbling and failures.
Marie Kinsky talks with choreographer Mirka Eliášová (CZ), professor at the Academy of Performing Arts in Prague, about the usage of specific choreographic tools in her teaching and creations, about improvisation as an opening tool for later choreography, about the influence of William Forsythe’s technique, and her research on these principles in relation to contact improvisation.
