Tuesday, 7 May 13:00 – 15:00
Insights into the research laboratories 2019
Two artists’ collectives each spent one week researching a staging idea. On Tuesday, the artists share their interim results and host a discussion with the audience participants. Depending on the state of their research, the groups will either show a sketch of up to 20 minutes or tell about their process.
Laboratory 1: Cubic Sound – Music Theater for the Very Young
Following its origins in the research laboratories for music theater in 2017, one collective continues to explore this field. Florian Bergmann, Benedikt Bindewald, and Minouche Petrusch have been working together for two years. Their production »Sound Square« (dt. »Klangquadrat«) has been invited to The festival for young audiences Augenblick mal!. »Sound Square« was an experimental arrangement that radically reduced the scenic and musical material. Starting with nine colored plates and nine notes of the major scale, the artists invented their own sound symbol system. This triggered an exploration of the relationship between the elements of music/composition, scene/acting and narration. In this laboratory, the trio has set itself the task of working with a set and using music as a primary aesthetic means again. However, this time the composers, who come from New Music, want to expand their musical instrumentation and take off from first compositions, which are harmonically based on a circle of major thirds. Moving from there, in this context, they will investigate the whole-tone scale, augmented triads and other elements.
Laboratory 2: UNDO II
The other laboratory – with Lola Agostini, Felix Ofosu Dompreh, Coco Ramatou Gregor, and Janne Gregor – investigates the improvisational, dancing and musical possibilities that arise when a trained dancer, who knows and consciously uses her body, meets a child who is curiously just getting to know her body. Through improvisation, imitation and movement, the laboratory investigates the effects on the dancer and the musician when they enter into a resonant, interactive relationship with the child and allow themselves to be addressed and inspired by her movements. How can the musician translate the child's movements rhythmically? How can the dancer transport them?
The idea is based on research and showings developed by Janne Gregor in 2015 /16.The child who was then a baby has gained mobility and cognitive abilities, and society has also left its mark: learned behavioral and movement patterns have grown evident. From her baby dance partner role, she has now become an active initiator.
During the rehearsals, the child can enter into the dance context with her own ideas, so that an exchange develops. The child may be present live at showings, but this is not mandatory.