[et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.16″ background_color=”#ece9ea” global_colors_info=”{}”][et_pb_fullwidth_header title=”Touring” header_fullscreen=”on” admin_label=”PUBLICATIONS : TEXT” _builder_version=”4.27.4″ title_font=”Dosis|700||on|||||” title_text_align=”center” title_text_color=”#9b9996″ content_font=”Dosis|500|||||||” content_text_align=”center” content_text_color=”#727272″ subhead_font=”Dosis|700|||||||” subhead_text_align=”center” subhead_text_color=”#bbbab8″ subhead_font_size=”20px” background_color=”#ece9ea” background_layout=”light” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” custom_padding=”0px|||||” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n
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Sadlers Wells London<\/em><\/p>\n Sommerbar\/Tanz im August Berlin<\/em><\/p>\n Festival Rencontres chor\u00e9ographiques\u00a0 Paris<\/em><\/p>\n Frascati Amsterdam<\/em><\/p>\n Kampnagel Hamburg<\/em><\/p>\n HAU Berlin<\/em><\/p>\n WUK Vienna<\/em><\/p>\n Black Box Oslo<\/em><\/p>\n Julidans Amsterdam<\/em><\/p>\n \u00a0Spring dance Utrecht<\/em><\/p>\n ICI Berlin<\/em><\/p>\n SAVY contemporary Berlin<\/em><\/p>\n December Dance Brugge<\/em><\/p>\n STUK Vienna<\/p>\n Side Step Festival Zodiak Helsinki<\/em><\/p>\n Imagetanz BRUT Vienna<\/em><\/p>\n Tramway \u00a0Glasgow<\/em><\/p>\n Sophiensaile Berlin<\/em><\/p>\n Spring Dance Utrecht<\/em><\/p>\n G\u00f6teborg festival Gothenburg<\/em><\/p>\n MDT Stockholm<\/em><\/p>\n Dansenshus Stockholm<\/em><\/p>\n Dansenshus Copenhagen<\/em><\/p>\n Dansenshus Oslo<\/em><\/p>\n Dansehallerne Copenhagen<\/p>\n Den Frie Museum Copenhagen<\/em><\/p>\n Nordwind Festival<\/em><\/p>\n Design Centre \u00a0Malm\u00f6<\/em><\/p>\n Atalante Gothenburg<\/em><\/p>\n Dansstationen Malm\u00f6<\/em><\/p>\n K\u00fcnstlerhaus Mousonturm Frankfurt<\/em><\/p>\n ZeitraumExit Mannheim<\/em><\/p>\n Les Grandes Traversees festival Bordeaux<\/em><\/p>\n WHY NOT! Festival Amsterdam<\/em><\/p>\n Tanzoffensive Leipzig<\/em><\/p>\n Theater De NWE Vorst Tilburg<\/em><\/p>\n Ballhaus Ost Berlin<\/em><\/p>\n RDF Reykjav\u00edk<\/em><\/p>\n L\u00d3KAL Festival Reykjav\u00edk<\/em><\/p>\n RAS Kulturhus Sandnes<\/em><\/p>\n ke\u00f0jaMariehamn 2014 \u00c5land Islands<\/em><\/p>\n ICEHOT festival<\/em><\/p>\n Spring Forward\u00a0 Aerowaves festival Um\u00e1e<\/em><\/p>\n Bora Bora Aarhus Jutland<\/em><\/p>\n Flutgraben Performance Events Berlin<\/em><\/p>\n \n \n <\/p>\n <\/p>\n <\/p>\n Internal emergencies<\/strong><\/p>\n And it is true that something incredible happens in this \u201cconspiratorial ceremony\u201d in which Gudjo\u0301nsdo\u0301ttir involves five dancers, most often separately. Little movement, no interaction or claim of communication with the space or the public. The hyper-state is an internal affair. And yet \u2026No one, probably, has ever been so successful in rhyming with a state of choreographic urgency. Many contemporary choreographers have, however, got down to work. Without much result. Feeling what is going on within the body or mind of an interpreter usually requires the viewer to have an acute divining ability. The Conspiracy Ceremony changes the game. With her research on myofascial release and her personal approach to somatic practices, Margre\u0301t Sara Gu\u00f0jo\u0301nsdo\u0301ttir has opened doors to the invisible and buried body memory. The performers manage, with a minimum of gestures, to create energetic fields that link their bodily presence to very powerful and almost palpable mental ones.<\/p>\n Date: 22\/05\/2018 Thomas Hahn dansercanalhistorique.fr\u00a0BAGNOLET<\/em><\/strong><\/p>\n <\/p>\n I wonder: Whose unconscious is being shown to me as I melt into my chair and pour over the stage of Pervasive Magnetic Stimuli? The choreographer\u2019s? The dancers\u2019? The person\u2019s sitting next to me? My own? What projections am I throwing into this cave?\u2026I am addressed, but I cannot access the faces that I see: they are elsewhere, intoxicated by an energy I cannot touch, an energy I merely savour through the glossy, trance induced look in their eyes\u2026And then I realize: I am being taken. We are being taken. Taken under. We are being taken under as Pervasive Magnetic Stimuli break the mirror, and for a split second allow us to have a glimpse at what lies beneath the surface of our expectations.<\/p>\n Mariana Nobre Viera, International Notice 1rst. november 2018, http:\/\/ internationalnotice.org<\/em><\/strong><\/p>\n <\/p>\n <\/p>\n Cullbergbaletten\u2019s \u201cHyper\u201d is a remarkable, compelling masterpiece and a rumination on the \u201cwired\u201d nature of modern life. It is not to be missed, writes \u00d6rjan Abrahamsson.<\/strong><\/p>\n While watching the performance I am struck and fascinated by Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir \u2019s choreographic consistency. This impression lingers after the curtain falls, as does my awe at the impressive concentration of the four dancers. I\u2019m also left mildly amused, vaguely bored, and pensive \u2013 but not particularly interested, let alone moved.\u00a0It is only later, as I make my way home \u2013 alone, having parted ways with my companion \u2013 that the performance\u2019s magnetic force begins to sink in. Gradually, my intellect catches up with the intense, physical experience of the ballet. This makes \u201cHyper\u201d a prime example of perhaps the most unique aspect of the greatest choreographic accomplishments.\u00a0<\/span>It takes a fair amount of time for the subconscious and the brain\u2019s limbic system to communicate the physical body\u2019s reactions to consciousness. When this connection finally occurs, the effect is overwhelming. Such is the case with \u201cHyper.\u201d It is shocking. Long-acting.\u00a0Let\u2019s take it from the beginning.When taken at face value, \u201cHyper\u201d is almost provocatively simple. The curtain rises on four dancers. Two are standing, while the other two lie on the floor. Their placement is reminiscent of a crime scene photo. Blue-white floors shimmer against a backdrop of white curtains. During the 50-minute performance, the dancers move convulsively in extreme slow motion. They are never more than three meters from their starting points, yet some small part of their bodies remains in constant motion. It is as if they are trapped in setting cement.\u00a0<\/span>Aside from four short song clips, \u201cHyper\u201d is accompanied only by Tibetan throat singing \u2013 strange, discordant, and vaguely synthetic. That is all. Yet this is a hyper-professional performance.\u00a0It is not without reason that Gu\u00f0j\u00f3nsd\u00f3ttir has become one of the decade\u2019s most acclaimed and sought-after choreographers. Her work is highly conceptual, yet at the same time, it is of course fundamentally based in the human body. This dichotomy can be seen in Gu\u00f0j\u00f3nsd\u00f3ttir \u2019s early solo, \u201cSoft target,\u201d (DN 14\/10, 2012) which \u201cHyper\u201d resembles in many respects. At the same time, it is a completely different work. Both works are based in the existential, but \u201cHyper\u201d is also a chamber play about the shortcomings of social life.\u00a0<\/span>As with all significant works of art, \u201cHyper\u201d leaves room for layer upon layer of interpretation. Personally, I find myself hung up on the dystopian undertones of the performance \u2013 on its questioning of how today\u2019s stressful news cycles, our inextricably wired lives, and social media affect us. Of how they affect mankind. Rather than increasing our freedom, this interconnectivity creates a lack of patience that is effectively portrayed by the physically stammering, even catatonic individuals on the stage. They also appear unable to communicate with each other.\u00a0At the same time, Gu\u00f0j\u00f3nsd\u00f3ttir offers hope. She demonstrates and reminds the spectator of the sensational physicality of the human body, and, if only we are attentive enough, of its unmistakable presence. In the best case scenario, it is only when we see and recognize our own (and contemporary society\u2019s) spastic condition that we can \u201cchill out,\u201d relax, and be freed.\u00a0In short: \u201cHyper\u201d is a stunning, captivating masterpiece. It is not to be missed.<\/p>\n 01.03.2018 O\u0308rjan Abrahamsson, Dagens Nyheter, Stockholm<\/em><\/strong><\/p>\n <\/p>\n The design of the work is brutally effective: a very beautiful kind of ugliness presented to us with notable precision\u2026Throughout, I was never entertained, never distracted, but only ever trying to distract myself from the work. These are some of the work\u2019s most impressive qualities, so well executed that my distractions failed time and again\u2026what ensures SPOTTED is an engaging piece of work, and confirms that it contributes something new to this discourse, is the exceptional affective force it possesses. Not only does it articulate this quality of inertia, but it forces its audience into that state, or perhaps opens up a space in which that state, otherwise felt as an undercurrent or a dust, overwhelms you.<\/p>\n Andrew Edwards Exeunt Magazine, 06\/05\/2017<\/em><\/strong><\/p>\n <\/p>\n <\/p>\n A soft punch in the face against the performance requirements<\/strong><\/p>\n \u201c In the blind spot is one of the most interesting new pieces by Margret Sara Gu\u00f0jo\u0301nsdo\u0301ttir. Anna A\u030angstro\u0308m, Svenska dagbladet, 12\/04\/2016<\/em><\/strong><\/p>\n <\/p>\n <\/p>\n Breathtaking view of our times on exposure<\/strong><\/p>\n \u201cThe Icelandic choreographer Margre\u0301t Sara Gu\u00f0jo\u0301nsdo\u0301ttir, that resides in Berlin, works with phenomenal consistency. With lightness in execution, she builds to her account an unpleasant scene incorporating the gaze when working with space and time with a heart-stopping complexity evolving around themes such as identity, body and subject versus object (\u2026)The compulsive vulnerability in the performance SPOTTED clings to the mind as an irritable yet great judgment of our time\u201d.<\/p>\n Anna Angstro\u0308m SvD Kultur, 24\/11\/2014<\/em><\/strong><\/p>\n <\/p>\n With minimalistic precision<\/strong><\/p>\n This constant flow of information gushing over the non shielded human being comes to a point of no return\/ a turning point which creates physical and psychological stress when the exploitation works as if it is integrated on a personal level in the non shielded human being. The dansers Louise Dahl and Marie Ursin give such a strong and impressive performance that it \u0301s hard to differentiate between the artistically crafted physical work and the bigger picture of the performance. It \u0301s simply all existing there together as one.<\/p>\n Ingela Brovik, Danstidningen, 03\/12\/2014<\/em><\/strong><\/p>\n <\/p>\n \u201cThe quality is not just produced by that age old playing with the gaze. There is also a slowness, seemingly born of an endless exhaustion; the infernal silence from which Peter Rehberg\u2019s music is created and of course the quality is produced by the Icelandic choreographer Margre\u0301t Sara Gudjo\u0301nsdo\u0301ttir\u2019s movement art, like a puppet hanging from a string\u201d.<\/p>\n Arnd Wesemann, tanz, 08\/2014<\/em><\/strong><\/p>\n <\/p>\n \u201cAgain and again we see exhausted bodies, retreating within themselves. There is hardly communication between the protagonists. Each one going their toilsome way. Everyone is exhausted. It is in this weakness of the human body where the choreographer searches for the body\u2019s strength and she succeeds, by parading this weakness, without any one secret, in the bright light [\u2026] Blind Spotting makes a mirror out of the public and out of the actors in which they mutually look at themselves for three quarters of an hour.\u201d<\/p>\n Aura Cumita, Neue Deutche presse, 16.06.2014<\/em><\/strong><\/p>\n <\/p>\n \u201cChoreographers have tried in a variety of ways to challenge the traditional relationship between spectator and performer since the radical re-workings of dance in the sixties. Icelandic choreographer Margre\u0301t Sara Gu\u00f0jo\u0301nsdo\u0301ttir continues in the spirit of these liberating experiments with her piece,Variations on Closer. Her work features three highly individualistic looking women, minimalistic dance and experimental, electronic music by Peter Rehberg which becomes another distinct presence on stage. The performers confront the gaze of the audience and manage to expose each one of us as much as they expose themselves. Their powerful command of the gaze deflects ours and becomes a shield to protect their vulnerability\u2026Variations on Closer is hard work. You are implicated in the performance, you cant hide in your seat. You dont get any closer to the protagonists. However it is effective in that it presents women performers who take control and empower themselves not through theatrical devices but through the gaze\u2026The performers confront the gaze of the audience and manage to expose each one of us as much as they expose themselves. Their powerful command of the gaze deflects ours and becomes a shield to protect their vulnerability.<\/p>\n Josephine Leask,The Dance Insider, London, 3rd of October 2014<\/em><\/strong><\/p>\n <\/p>\n No flutter of an eyelid is accidental<\/strong><\/p>\n \u201cStep Right To It\u201d, by the Icelandic choreographer Margre\u0301t Sara Gudjo\u0301nsdo\u0301ttir. The four person choreography is minimalist and authoritative in front of its dark blue semi circular curtain. Everything is in slow motion. The performers \u2013 three women, one man dressed in everyday clothes \u2013 crawl on all fours, sometimes with a predatory elegance. They step out of the curtain and sink to the floor again and again, seeming as if they are about to faint or are in pain.\u00a0They enter from the right, disappearing again to the left taking a very long time. Each tired flutter of the eyelid seems choreographed. Almost nothing happens, there is almost no variation, yet the timing is immaculate. A tense anticipation is built in which you await every change of lighting, music or personnel.\u00a0Above all however, the 40 minute long \u201cStep Right To It\u201d shows a completely unique, wilful signature \u2013 all achieved with the least amount of original movement. There is a very special mixture, there is rigour and there is dramaturgy. That is also something not so easily copied.<\/p>\n Sylvia Staude , Frankfurter Rundschau 10.06.2014<\/em><\/strong><\/p>\n <\/p>\n Equally interesting and affecting is the Icelandic choreographer Margre\u0301t Sara Gudjonsdottir who created the solo Soft Target for the dancer Johanna Chemnitz. It begins in the thick darkness where a man\u2019s voice disturbs our minds with\u00a0nonsense. The dancer, dressed only in bra and shorts, exposes every muscle and twitch. Her eyes are closed at first her and she seems to shrink instinctively from something. The dancer tries to orient herself in both her own body and space, like an animal that is frightened out of his burrow and blinking against the light, to us who see her. The electronic sound is amplified to the pain threshold while the dancer switches with pressure between various movement fragments. She reflects in our eyes but is also trapped in it \u2013 a soft target. Soft Target is a consistent and thought-provoking unpleasant solo that leaves traces in the viewer\u2019s body and raises awareness of how we read of the environment.<\/p>\n Anna Angstrom, 22.05.2012<\/em><\/strong> <\/p>\n Effective and clever;\u201cSoft Target\u201d manages to reinvent the wheel<\/strong><\/p>\n The incredibly simple concept behind the performance is intimidatingly effective, pure, clever and persistent\u2026 Soft Target is an exceptionally thought out piece both physiologically and psychological. Managing to be captivating as well challenging it is a true piece of art that transcends itself.<\/p>\n O\u0308rjan Abrahamsson 14.10.2012<\/em><\/strong> [\/et_pb_fullwidth_header][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" \u00a0 \u00a0 Sadlers Wells London Sommerbar\/Tanz im August Berlin Festival Rencontres chor\u00e9ographiques\u00a0 Paris Frascati Amsterdam Kampnagel Hamburg HAU Berlin WUK Vienna Black Box Oslo Julidans Amsterdam \u00a0Spring dance Utrecht ICI Berlin SAVY contemporary Berlin December Dance Brugge STUK Vienna Side Step Festival Zodiak Helsinki Imagetanz BRUT Vienna Tramway \u00a0Glasgow Sophiensaile Berlin Spring Dance Utrecht […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"\r\n Ceci est une page d\u2019exemple. C\u2019est diff\u00e9rent d\u2019un article de blog parce qu\u2019elle restera au m\u00eame endroit et appara\u00eetra dans la navigation de votre site (dans la plupart des th\u00e8mes). La plupart des gens commencent par une page \u00ab\u00a0\u00c0 propos\u00a0\u00bb qui les pr\u00e9sente aux visiteurs du site. Cela pourrait ressembler \u00e0 quelque chose comme cela\u00a0:<\/p>\r\n\r\n Bonjour\u00a0! Je suis un m\u00e9canicien qui aspire \u00e0 devenir acteur, et voici mon site. J\u2019habite \u00e0 Bordeaux, j\u2019ai un super chien baptis\u00e9 Russell, et j\u2019aime la vodka-ananas (ainsi qu\u2019\u00eatre surpris par la pluie soudaine lors de longues balades sur la plage au coucher du soleil).<\/p>\r\n<\/blockquote>\r\n\r\n ... ou quelque chose comme cela\u00a0:<\/p>\r\n\r\n La soci\u00e9t\u00e9 123 Machin Truc a \u00e9t\u00e9 cr\u00e9\u00e9e en 1971, et n\u2019a cess\u00e9 de proposer au public des machins-trucs de qualit\u00e9 depuis lors. Situ\u00e9e \u00e0 Saint-Remy-en-Bouzemont-Saint-Genest-et-Isson, 123 Machin Truc emploie 2 000 personnes, et fabrique toutes sortes de bidules super pour la communaut\u00e9 bouzemontoise.<\/p>\r\n<\/blockquote>\r\n\r\nREVIEWS (selection)<\/strong><\/h2>\n
The non-performing body can have an extra charge \u2013 that provocation in a targeted community, as a target for various projections or concentration levels of the audience\u2019s consciousness in a dance performance. All this and much more is available in the Icelandic choreographers Margre\u0301t Sara Gu\u00f0jo\u0301nsdo\u0301ttirs consistently drilling work\u2026 she has stood out as one of the most interesting new artists presence to follow. The austere, minimalist and for both dancers and audience endurance demanding form is even more extreme than in previous work\u2026deeply fascinating and scary\u2026 where physical transformation and social criticism go hand in hand. \u201cIn the blind spot\u201d can be seen as an act of defiance, a soft punch in the face to contemporary ideals\u201d.<\/p>\n\u00a0<\/h3>\n
SvD Kultur Sweden<\/em><\/strong><\/p>\n
Dagens Nyheter, Stockholm<\/em><\/strong><\/p>\n\r\n
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