Tanzquartier Wien

Among several other artists from the time Vienna was a centre of modern art, Hanna Berger (1910–1962) is one of the most prolific representatives of modern dance. She joined the ranks of the resistance during the rule of the NS regime and was subsequently arrested in Berlin on charges of communist affiliation. She returned to Vienna in 1945 and dedicated the rest of her short life to the continuous research and development of dance in all its diverse forms.

In Recalling Her Dance, Eva Schaller will engage with the biography and oeuvre of this multifaceted and politically radical artist. The performance will reference diary entries, choreographic notes and historic text and image material. Alongside heritage and the material archive, dance will be the main site and medium of information. Meanwhile, the performance itself is the consequence of a very special series of events: Hanna Berger taught her student Ottilie Mitterhuber the solo piece ‘Die Unbekannte aus der Seine’, which was then passed on to Mitterhuber’s student Esther Koller. Finally, Koller taught Eva Schaller the piece in 2018. In defiance of the usual blank spots in Austria’s dance history, these four dancers made sure a choreography about resistance was passed on in its original form.

Recalling Her Dance is a solo piece about the transfer of body knowledge, a continuous practice of dancing and reflecting on ideals and the realities of life. But it also represents the attempt to locate oneself as a dancer in the here and now.

Download the booklet to the play as a PDF (after printing, please fold)

„Obedecemos sin siquiera hacer el esfuerzo de decir que si. (We are obedient without even bothering to agree.)“ – graffiti in Santiago de Chile

urgent, in bodies is a movement instruction, a rejection of deferrals and a call for collectives to form an opposition to state authority and institutions. A dance that encourages to become complicit and form alliances, to create autonomous networks and organisms.

urgent, in bodies explores moments in which bodies meet, encounter each other, gather and form fluid formations of temporary and collective action. The five dancers view agency as a participatory attribute of social interaction, as opposed to an asset belonging to specific or representative individuals. Music from the album Manual For Successful Rioting by French DJ collective Birdy Nam Nam serves as basis for the physical statements, subversive gestures and resulting temporary alliances of bodies.

„I don’t know if I’m creating this or if this is actually what is meant to be. / And you know they, they say that you gotta think what you want into existence.“ – Miley Cyrus in BB Talk

In her performance take me to my house, Camilla Schielin will explore different layers of heritage. Both material and immaterial aspects of heritage will encourage a broad and rhizomatic reading of the term. Encountering what once lived – that which transcends time and authorship equally – can be confusing. Facts underpin loss, ignorance allows for hope, the future is open at every turn?

This house, this body, which remembers and is caught up in arguments over the past, addresses question of perspective, dependency and orientation. Remnants and legacy, gestures and affects all demand the reframing of handed down rules and abandoned responsibilities.

YES is a cascade of pleasure, sadness and dreams of possibilities. Morphing through a constant of what has been and what is. YES is soft, YES is dense, YES is tension and release. YES works with the healing powers of water and the storm’s revolutionary potential.

In her work, BamBam Frost is dealing with questions of how to create more sustainable ways of existing individually and together. For YES, she turned to the ‘erotic’, as re-imagined by Audre Lorde, to ‘pleasure activism’, as defined by adrienne maree brown, and to the many worlds of Octavia Butler for guidance. It is a work that processes the big emotions around current events and the colonial history that led us here, with pleasure as a compass for healing and dreaming of alternatives. YES is BamBam Frost’s second work, following her debut SORRY from 2018. It’s almost a solo. We call it: solo with a guest.

The piece, which was finalised at MDT in Stockholm, opened to a limited audience at Dansehallerne in Copenhagen in May.

Among several other artists from the time Vienna was a centre of modern art, Hanna Berger (1910–1962) is one of the most prolific representatives of modern dance. She joined the ranks of the resistance during the rule of the NS regime and was subsequently arrested in Berlin on charges of communist affiliation. She returned to Vienna in 1945 and dedicated the rest of her short life to the continuous research and development of dance in all its diverse forms.

In Recalling Her Dance, Eva Schaller will engage with the biography and oeuvre of this multifaceted and politically radical artist. The performance will reference diary entries, choreographic notes and historic text and image material. Alongside heritage and the material archive, dance will be the main site and medium of information. Meanwhile, the performance itself is the consequence of a very special series of events: Hanna Berger taught her student Ottilie Mitterhuber the solo piece ‘Die Unbekannte aus der Seine’, which was then passed on to Mitterhuber’s student Esther Koller. Finally, Koller taught Eva Schaller the piece in 2018. In defiance of the usual blank spots in Austria’s dance history, these four dancers made sure a choreography about resistance was passed on in its original form.

Recalling Her Dance is a solo piece about the transfer of body knowledge, a continuous practice of dancing and reflecting on ideals and the realities of life. But it also represents the attempt to locate oneself as a dancer in the here and now.

Download the booklet to the play as a PDF (after printing, please fold)

„Obedecemos sin siquiera hacer el esfuerzo de decir que si. (We are obedient without even bothering to agree.)“ – graffiti in Santiago de Chile

urgent, in bodies is a movement instruction, a rejection of deferrals and a call for collectives to form an opposition to state authority and institutions. A dance that encourages to become complicit and form alliances, to create autonomous networks and organisms.

urgent, in bodies explores moments in which bodies meet, encounter each other, gather and form fluid formations of temporary and collective action. The five dancers view agency as a participatory attribute of social interaction, as opposed to an asset belonging to specific or representative individuals. Music from the album Manual For Successful Rioting by French DJ collective Birdy Nam Nam serves as basis for the physical statements, subversive gestures and resulting temporary alliances of bodies.

„I don’t know if I’m creating this or if this is actually what is meant to be. / And you know they, they say that you gotta think what you want into existence.“ – Miley Cyrus in BB Talk

In her performance take me to my house, Camilla Schielin will explore different layers of heritage. Both material and immaterial aspects of heritage will encourage a broad and rhizomatic reading of the term. Encountering what once lived – that which transcends time and authorship equally – can be confusing. Facts underpin loss, ignorance allows for hope, the future is open at every turn?

This house, this body, which remembers and is caught up in arguments over the past, addresses question of perspective, dependency and orientation. Remnants and legacy, gestures and affects all demand the reframing of handed down rules and abandoned responsibilities.

YES is a cascade of pleasure, sadness and dreams of possibilities. Morphing through a constant of what has been and what is. YES is soft, YES is dense, YES is tension and release. YES works with the healing powers of water and the storm’s revolutionary potential.

In her work, BamBam Frost is dealing with questions of how to create more sustainable ways of existing individually and together. For YES, she turned to the ‘erotic’, as re-imagined by Audre Lorde, to ‘pleasure activism’, as defined by adrienne maree brown, and to the many worlds of Octavia Butler for guidance. It is a work that processes the big emotions around current events and the colonial history that led us here, with pleasure as a compass for healing and dreaming of alternatives. YES is BamBam Frost’s second work, following her debut SORRY from 2018. It’s almost a solo. We call it: solo with a guest.

The piece, which was finalised at MDT in Stockholm, opened to a limited audience at Dansehallerne in Copenhagen in May.

Among several other artists from the time Vienna was a centre of modern art, Hanna Berger (1910–1962) is one of the most prolific representatives of modern dance. She joined the ranks of the resistance during the rule of the NS regime and was subsequently arrested in Berlin on charges of communist affiliation. She returned to Vienna in 1945 and dedicated the rest of her short life to the continuous research and development of dance in all its diverse forms.

In Recalling Her Dance, Eva Schaller will engage with the biography and oeuvre of this multifaceted and politically radical artist. The performance will reference diary entries, choreographic notes and historic text and image material. Alongside heritage and the material archive, dance will be the main site and medium of information. Meanwhile, the performance itself is the consequence of a very special series of events: Hanna Berger taught her student Ottilie Mitterhuber the solo piece ‘Die Unbekannte aus der Seine’, which was then passed on to Mitterhuber’s student Esther Koller. Finally, Koller taught Eva Schaller the piece in 2018. In defiance of the usual blank spots in Austria’s dance history, these four dancers made sure a choreography about resistance was passed on in its original form.

Recalling Her Dance is a solo piece about the transfer of body knowledge, a continuous practice of dancing and reflecting on ideals and the realities of life. But it also represents the attempt to locate oneself as a dancer in the here and now.

Download the booklet to the play as a PDF (after printing, please fold)

„Obedecemos sin siquiera hacer el esfuerzo de decir que si. (We are obedient without even bothering to agree.)“ – graffiti in Santiago de Chile

urgent, in bodies is a movement instruction, a rejection of deferrals and a call for collectives to form an opposition to state authority and institutions. A dance that encourages to become complicit and form alliances, to create autonomous networks and organisms.

urgent, in bodies explores moments in which bodies meet, encounter each other, gather and form fluid formations of temporary and collective action. The five dancers view agency as a participatory attribute of social interaction, as opposed to an asset belonging to specific or representative individuals. Music from the album Manual For Successful Rioting by French DJ collective Birdy Nam Nam serves as basis for the physical statements, subversive gestures and resulting temporary alliances of bodies.

„I don’t know if I’m creating this or if this is actually what is meant to be. / And you know they, they say that you gotta think what you want into existence.“ – Miley Cyrus in BB Talk

In her performance take me to my house, Camilla Schielin will explore different layers of heritage. Both material and immaterial aspects of heritage will encourage a broad and rhizomatic reading of the term. Encountering what once lived – that which transcends time and authorship equally – can be confusing. Facts underpin loss, ignorance allows for hope, the future is open at every turn?

This house, this body, which remembers and is caught up in arguments over the past, addresses question of perspective, dependency and orientation. Remnants and legacy, gestures and affects all demand the reframing of handed down rules and abandoned responsibilities.

YES is a cascade of pleasure, sadness and dreams of possibilities. Morphing through a constant of what has been and what is. YES is soft, YES is dense, YES is tension and release. YES works with the healing powers of water and the storm’s revolutionary potential.

In her work, BamBam Frost is dealing with questions of how to create more sustainable ways of existing individually and together. For YES, she turned to the ‘erotic’, as re-imagined by Audre Lorde, to ‘pleasure activism’, as defined by adrienne maree brown, and to the many worlds of Octavia Butler for guidance. It is a work that processes the big emotions around current events and the colonial history that led us here, with pleasure as a compass for healing and dreaming of alternatives. YES is BamBam Frost’s second work, following her debut SORRY from 2018. It’s almost a solo. We call it: solo with a guest.

The piece, which was finalised at MDT in Stockholm, opened to a limited audience at Dansehallerne in Copenhagen in May.

Among several other artists from the time Vienna was a centre of modern art, Hanna Berger (1910–1962) is one of the most prolific representatives of modern dance. She joined the ranks of the resistance during the rule of the NS regime and was subsequently arrested in Berlin on charges of communist affiliation. She returned to Vienna in 1945 and dedicated the rest of her short life to the continuous research and development of dance in all its diverse forms.

In Recalling Her Dance, Eva Schaller will engage with the biography and oeuvre of this multifaceted and politically radical artist. The performance will reference diary entries, choreographic notes and historic text and image material. Alongside heritage and the material archive, dance will be the main site and medium of information. Meanwhile, the performance itself is the consequence of a very special series of events: Hanna Berger taught her student Ottilie Mitterhuber the solo piece ‘Die Unbekannte aus der Seine’, which was then passed on to Mitterhuber’s student Esther Koller. Finally, Koller taught Eva Schaller the piece in 2018. In defiance of the usual blank spots in Austria’s dance history, these four dancers made sure a choreography about resistance was passed on in its original form.

Recalling Her Dance is a solo piece about the transfer of body knowledge, a continuous practice of dancing and reflecting on ideals and the realities of life. But it also represents the attempt to locate oneself as a dancer in the here and now.

Download the booklet to the play as a PDF (after printing, please fold)

„Obedecemos sin siquiera hacer el esfuerzo de decir que si. (We are obedient without even bothering to agree.)“ – graffiti in Santiago de Chile

urgent, in bodies is a movement instruction, a rejection of deferrals and a call for collectives to form an opposition to state authority and institutions. A dance that encourages to become complicit and form alliances, to create autonomous networks and organisms.

urgent, in bodies explores moments in which bodies meet, encounter each other, gather and form fluid formations of temporary and collective action. The five dancers view agency as a participatory attribute of social interaction, as opposed to an asset belonging to specific or representative individuals. Music from the album Manual For Successful Rioting by French DJ collective Birdy Nam Nam serves as basis for the physical statements, subversive gestures and resulting temporary alliances of bodies.

„I don’t know if I’m creating this or if this is actually what is meant to be. / And you know they, they say that you gotta think what you want into existence.“ – Miley Cyrus in BB Talk

In her performance take me to my house, Camilla Schielin will explore different layers of heritage. Both material and immaterial aspects of heritage will encourage a broad and rhizomatic reading of the term. Encountering what once lived – that which transcends time and authorship equally – can be confusing. Facts underpin loss, ignorance allows for hope, the future is open at every turn?

This house, this body, which remembers and is caught up in arguments over the past, addresses question of perspective, dependency and orientation. Remnants and legacy, gestures and affects all demand the reframing of handed down rules and abandoned responsibilities.

YES is a cascade of pleasure, sadness and dreams of possibilities. Morphing through a constant of what has been and what is. YES is soft, YES is dense, YES is tension and release. YES works with the healing powers of water and the storm’s revolutionary potential.

In her work, BamBam Frost is dealing with questions of how to create more sustainable ways of existing individually and together. For YES, she turned to the ‘erotic’, as re-imagined by Audre Lorde, to ‘pleasure activism’, as defined by adrienne maree brown, and to the many worlds of Octavia Butler for guidance. It is a work that processes the big emotions around current events and the colonial history that led us here, with pleasure as a compass for healing and dreaming of alternatives. YES is BamBam Frost’s second work, following her debut SORRY from 2018. It’s almost a solo. We call it: solo with a guest.

The piece, which was finalised at MDT in Stockholm, opened to a limited audience at Dansehallerne in Copenhagen in May.