TANZ

A sylphic reverie in stunts
Florentina Holzinger
Dance & Performance
© Eva Würdinger 
Florentina
Holzinger

studied choreography at the School for New Dance Development (SNDO) in Amsterdam. Kein Applaus für Scheiße (2011), the first joint production of Florentina Holzinger and Vincent Riebeek, earned them a reputation as “most provocative new choreographers” straight away.

In addition to further collaborations with Riebeek (Spirit, Wellness and, most recently, Schönheitsabend), Holzinger presented the solo Recovery in 2015, in which she processed the trauma of a serious accident she had during a performance. This was followed by Apollon, a piece in which Holzinger turned George Balanchine’s neoclassical ballet Apollon Musagète into a circus freak show with muses performing bizarre tricks rather than dancing attendance on the god. As of 2021/22, Florentina Holzinger will work at Volksbühne Berlin under the artistic direction of René Pollesch a. o.

Florentina Holzinger
Thu16.
Sat18. 
Apr
19.30 /
TQW Halle G

2 hrs 15 min, no intermission

No admission under 18 years

In some scenes self-harming acts are portrayed, which could have a disturbing effect on some viewers.

In case of sold-out performances waiting numbers for remaining tickets are handed out at the evening box office opening one hour before showtime.

 

+++ Event postponed to autumn 2020 +++

Information on ticket refund can be found here

After five sold-out performances in October, the cult show returns to its place of creation. TANZ completes Florentina Holzinger’s trilogy about the body as a spectacle, and its disciplining. A ballet class under the direction of Beatrice Cordua, the first ballerina to dance Le sacre de printemps naked (John Neumeier’s Le Sacre, 1972), provides the framework for TANZ. The performers undergo rigorous training in “action ballet”, the so-called “sylphic studies”. In joint rituals, they learn to master their bodies and minds, and they acquire supernatural powers, such as flying. A quest for perfection in an ephemeral world, during which the gross is transformed into the sublime. In an operatic setting, brutal parodies of sensationalist images emerge, as seen in ballet, comedy and pornography. The gaze regime finds reflection in the character of a porn producer who documents the performance. With a cast of women between the ages of twenty and eighty, all of whom have different backgrounds in dance, TANZ raises the question of the legacy of dance. How can the cult of beauty inherent in this tradition be reconciled?

“Feminism, of course, has always been an exercise in science fiction.” — Laurie Penny

“In the end, radical entertainment is always the goal.” — Spike 

Credits

Concept, performance, choreography
Florentina Holzinger
Performance by and with
Renée Copraij, Beatrice Cordua, Evelyn Frantti, Lucifire, Annina Machaz, Netti Nüganen, Suzn Pasyon, Laura Stokes, Veronica Thompson, Lydia Darling
Video design, live camera
Josefin Arnell
Sound design, live sound
Stefan Schneider
Light design, technical direction
Anne Meeussen
Stage design
Nikola Knezevic
Stage assistance
Camilla Smolders
Technical assistance
Koen Vanneste
Dramaturgy
Renée Copraij, Sara Ostertag
Coaching
Ghani Minne, Dave Tusk
Music coach
Almut Lustig
Outside eye
Michele Rizzo, Fernando Belfiore
Theory, research
Anna Leon
Costume advisor, tailor
Mael Blau
Prosthetic, mask
Studierende des Studiengangs Maskenbild an der Theaterakademie August Everding (München), Marianne Meinl
Stunt support
Haeger Stunt & Wireworks
Stunt instructors
Stunt Cloud GmbH (Leo Plank, Phong Giang, Sandra Barger)
Management
Something Great (Berlin) & DANSCO (Amsterdam)
International distribution
Something Great (Berlin)
Executive production
Laura Andreß
Financial administration
Julia Haas/SMART (Wien)
A coproduction by
Spirit und Tanzquartier Wien, Spring Festival (Utrecht), Theater Rotterdam, Künstlerhaus Mousonturm (Frankfurt), Arsenic (Lausanne), Münchner Kammerspiele, Take Me Somewhere Festival (Glasgow), Beursschouwburg (Brüssel), deSingel (Antwerpen), Sophiensaele (Berlin), Frascati Productions (Amsterdam) und Theater im Pumpenhaus (Münster), asphalt Festival (Düsseldorf).
Supported by
O Espaço do Tempo (Montemor-o-Novo), Fondation LUMA (Arles) und De Châtel Award (NL).
Thanks to
CAMPO Gent, ImPulsTanz, Eva Beresin, Stefanie Leitner, Tanz-Archiv MUK Wien, Stimuleringsfonds Creative Industries, Mochi Catering (Vienna), Andres Stirn
Funded by
Cultural Department of the City of Vienna, Arts and Culture Division of the Federal Chancellery of Austria and Performing Arts Fund NL
Florentina
Holzinger

studied choreography at the School for New Dance Development (SNDO) in Amsterdam. Kein Applaus für Scheiße (2011), the first joint production of Florentina Holzinger and Vincent Riebeek, earned them a reputation as “most provocative new choreographers” straight away.

In addition to further collaborations with Riebeek (Spirit, Wellness and, most recently, Schönheitsabend), Holzinger presented the solo Recovery in 2015, in which she processed the trauma of a serious accident she had during a performance. This was followed by Apollon, a piece in which Holzinger turned George Balanchine’s neoclassical ballet Apollon Musagète into a circus freak show with muses performing bizarre tricks rather than dancing attendance on the god. As of 2021/22, Florentina Holzinger will work at Volksbühne Berlin under the artistic direction of René Pollesch a. o.

 
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