apap partner BIT Teatergarasjen
19. - 28. OCTOBER
In addition to the season program, BIT Teatergarasjen curates and produces METEOR, a festival with a focus on international impulses and tendencies within dance and theatre.
METEOR is presented every October and have a solid international recognition.
Forced Entertainment (UK) Sarah Vanhee (BE) Verk Produksjoner (NO) Alexandra Bachzetsis (CH) Happy Gorilla Dance Company (NO) Thea Hjelmeland (NO) Alessandro Sciarroni (IT) Spreafico Eckly (NO) Dorothée Munyaneza (FR) Becker/Langgård (NO) Jacob Wren / PME (CA) József Trefeli & Gábor Varga (HU) Burrows & Fargion (UK/IT) Finn Iunker (NO) Ingvild Holm (NO) Mykki Blanco (US) Tormod Carlsen (NO) Blind Spot (NO/INT) Mellanmjölk Productions (NO/FI/SE) Galerie (INT)
see the complete program here !
Alessandro Sciarroni - 19 and 20 October 2017
CLOSE UP #1
Alessandro Sciarroni in conversation with Frontlosjen - 20 October 2017
"Goalball players are my heroes. They have the capacity to transform their disability into a superpower" - A. Sciarroni
AURORA introduces us to a game of goalball – a Paralympic team sport played exclusively by the blind or visually impaired. Participants compete on teams of three and all players are required to wear eyeshades. The aim is to throw the ball, which is the size of a basketball and weighs over one kilo, into the opponents’ goal. Offense players are only allowed to use their hands, while defense players may use their whole bodies. The ball is embedded with little bells, allowing them to hear where it is. Read more
Aurora is a performative and choreographic practice based on the passing of time and stemming out of a reflection on sporting disciplines in general and, specifically, on the game of Goalball: a sport performed by blind and partially sighted people. This work is the third chapter of a trilogy Will you still love me tomorrow?, a project that explores the concepts of resistance, strain and concentration. As Sergio Lo Gatto states in “Una drammaturgia del tempo”: “at the base of each of the three works is the idea of bringing on stage a “quality” of reality obtained not imitating a practice, but transferring (through a progression from work to work) a practice from one context to another.” In this way, Aurora reconnects itself with the two previous chapters of the trilogy like an event with no eyes that follows the rhythm of the action revealing the real nature and meaning of sport where time never corresponds with duration. On the contrary, time shrinks and expands in relation to the subjective sensorial sensation of the performer and of the audience.
by Alessandro Sciarroni
music Pablo Esbert Lilienfeld
lighting design Valeria Foti, Cosimo Maggini, Alessandro Sciarroni
visual documentation, dramaturgical collaboration Cosimo Terlizzi
artistic collaborations Francesca Foscarini, Francesca Grilli, Matteo Maffesanti, Eric Minh Cuong Castaing
casting/dramaturgical consultant, casting Sergio Lo Gatto
curator, promotion, consulting Lisa Gilardino
administration, executive production Chiara Fava
casting, assistance, research Damien Modolo
production MARCHE TEATRO Teatro di Rilevante interesse Culturale avec le soutien de la Fondation d'entreprise Hermès dans le cadre de son programme New Settings
in coproduction with Mercat de les Flors / Torinodanza Festival / Kunstenfestivaldesarts - Les Halles de Schaerbeek / Théâtre National de Bretagne - Rennes e / and Comune di Bassano del Grappa – CSC Centro per la scena contemporanea, Centrale Fies / SZENE Salzburg
in the frame of APAP Advancing Performing Arts Project, Espace Malraux Scène Nationale de Chambéry et de la Savoie / VOORUIT
with the support of CND - Centre Nationale de la Danse de Pantin / Graner Centre de Creació / Dansehallerne - Copenhagen, Tanzhaus NRW Düsseldorf
executive production Corpoceleste _C.C.00#
Sarah Vanhee - 20 October
CLOSE UP #2
Sarah Vanhee and Jacob Wren - 21 October 2017
Oblivion is a trip through a plentiful horizontal plane of things, carefully embracing it all, cruising between abundance and destruction. Like nature it doesn’t discriminate between what’s valuable or worthless. The network prevails over the entity, what is usually invisible becomes visible – a slow celebration of things unhidden.
"During one year working and living, I tried to not throw anything away. From November 2014 till November 2015 I kept all my life traces, all my material and digital “trash” – from spam emails to worn-out underwear or bad ideas. I considered every thing as some thing. At times I felt very rich because there were so many things. At other times I felt like I was drowning in things. At some point I thought I’d better sit still on a chair and not move, to be sure not to produce anything. Slowly I started to understand that I would need to take a different ethical stance towards “my” “refuse”, that my “waste” and me are interconnected and part of the interconnectedness of things in the world, and that I would have to listen to what all these things were telling me and what they were calling for rather than imposing any kind of rational order on them. One of the outcomes of this process is the two and a half-hour long stage performance Oblivion.
Imagine a place where you would find yourself reconnected to everything you had discarded, deleted or thrown away. Objects, thoughts, relations, you had already cut yourself loose from and forgotten about, now they all re-appear. They are yours; you care about them. You reverse, re-value, reinvest. Every thing is worth something. When does your trash stop being your trash? Think an inverse world, for instance that scene in Bunuel’s The Phantom Of Liberty where hosts and guests shit together around the dinner table and eat alone in the toilet." - Sarah Vanhee
Concept & performance Sarah Vanhee
Sound Alma Söderberg & Hendrik Willekens
Outside eyes Mette Edvardsen & Berno Odo Polzer
Voice coach Jakob Ampe
Production assistance Linda Sepp
Coproduction CAMPO (Ghent); HAU (Berlin); Göteborgs Dans & Teater Festival (Göteborg), Noorderzon (Groningen) & Kunstenfestivaldesarts (Brussels) as part of NXTSTP with support of Culture Programme of the European Union
Executive production CAMPO
With support of the Flemish Authorities
Thanks to Manyone, Kunstenwerkplaats Pianofabriek & Kaaitheater
phone 55 23 22 35