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Entered by:
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Toladá Dance Company |
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Choreography:
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Joseph Tmim |
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Composer:
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Peter Corsten |
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Dance Comp.:
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Toladá Dance Company |
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Soloists:
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Yaron Brunn, Charlotta Öfverholm, Yvonne Weschke, Sigal Zouk, Liat Shinar Ogden |
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Director:
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Cornelius Förster |
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Coproduced by:
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Theater am Halleschen Ufer |
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Exec. Producer:
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Marc Pohl |
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Distribution TV:
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Mime Centrum Berlin |
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Year / Duration:
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1999 / 19' |
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IMZ Number:
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63078 |
78 |
DaDance Nr.1 + 2 Category: B| Germany |    |
In "DaDance Nr. 1", various everyday situations are meant to be put together like a puzzle with the help of associations. Everyday objects such as cutlery, tables, chairs, etc. are used to bring awareness of the relationships between the stage props and the dancers.
In "DaDance Nr.2", Dadaist poems create pictures that lead to the development of movement themes and spatial compositions. The choreography attempts to communicate the physical impressions engendered on-stage between the dancers during their confrontations in the dance.
In "DaDance Nr.2", Dadaist poems create pictures that lead to the development of movement themes and spatial compositions. The choreography attempts to communicate the physical impressions engendered on-stage between the dancers during their confrontations in the dance.
In "DaDance Nr. 1" sollen mit Hilfe von Assoziationen verschiedene Alltagssituationen wie ein Puzzle zusammengefügt werden. Alltagsgegenstände wie Besteck, Tische oder Stühle werden dazu genutzt, der Beziehung zwischen Requisiten und Tänzern nachzuspüren.
In "DaDance Nr. 2" kreieren dadaistische Gedichte Bilder, die zur Entwicklung von Bewegungsmotiven und Raumkompositionen führen. Bei der Auseinandersetzung damit versucht die Choreographie das physische Empfinden, das sich auf der Bühne durch tänzerische Konfrontationen zwischen den Tänzern äußert, wiederzugeben.