Barn Art Symposium

Barn Art Symposium – det første, men ikke det sidste!

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Gennem fem dage delte kunstnere fra Italien, Tyskland, England, Norge, Sverige, Finland/Schweiz og Danmark arbejde og tanker med hinanden, med naboer og andre deltagere:

Der blev budt på morgen-opvågningssessioner ved Colin Poole eller Stefano Questorio.
Vi havde forestillinger, en koncert, præsentationer, workshops og forelæsninger ved Stefano Questorio (I), Martina Marti (SCH/SF), Jochen Arbeit (D), Ronan Vandrer (DK), Af-Af (AUS), Mette Bovin (DK), André Austvoll (N) og Secret Hotel/Christine (DK).

Barn Art Symposium – the first, but not the last!

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During five days artists from Italy, Germany, England, Norway, Sweden, Finland/Switzerland, Australia and Denmark shared work and thoughts with each other, neighbours and other participants:

We had waking up morning sessions by Colin Poole or Stefano Questorio.
As well as: Performances, a concert, presentations, workshops and lectures by Stefano Questorio (I), Martina Marti (SCH/SF), Jochen Arbeit (D), Ronan Vandrer (DK), Af-Af (AUS), Mette Bovin (DK), André Austvoll (N) and Secret Hotel/Christine (DK).

Secret Hotels bestyrelse

Synne Berndt
Medstifter af Secret Hotel, dramaturg og lektor i PERFORMING ARTS  på Winchester Universitet i Storbritannien.

Kjetil Sandvik
cand.mag., ph.d., lektor i medievidenskab, Institut for Medier, Erkendelse og Formidling, Københavns Universitet

Jacob Knudsen
Konceptudvikler og dramaturg med speciale i digitale medier, VIFIN Vejle Kommune.

Charlotte Mors
Uddannet i dramaturgi v. Aarhus Universitet, daglig leder af Danseværket – www.dansevaerket.dk

Henrik Krogh
Arbejder med forumteater og kreative tilgange til problemstillinger i organisationer og virksomheder.
Se mere på klods-hans.com

Tidligere bestyrelsesmedlemmer siden 1999: Erik Petersen, Jesper Lützhøft, Hanne Svejstrup, Jóna Ingolfsdóttir, Morten Constantin Lervig, Thomas Wiesner, Steen Madsen, Kamma Siegumfeldt, Helle Trap Friis  og Louise Fabian. 

Synne Berndt
Co-founding member of Secret Hotel, Dramaturg and Lecturer in Performing Arts at the University of Winchester (UK).

Kjetil Sandvik
MA, PHD, associate professor in media studies, Department of Media, Cognition and Communication, University of Copenhagen

Jacob Knudsen
Concept developer & Dramaturge, specialized in digital medias, VIFIN, The Municipality of Vejle.

Charlotte Mors
Educated from Institute of Dramaturgy, Aarhus University, Artistic Director of Danseværket, Aarhus.
www.dansevaerket.dk

Henrik Krogh 
Works with forum theatre and creative approaches to challenges in organisations and small industries.
More info at www.klods-hans.com

Former board members since 1999: Erik Petersen, Jesper Lützhøft, Hanne Svejstrup, Jóna Ingolfsdóttir, Morten Constantin Lervig, Thomas Wiesner, Steen Madsen, Kamma Siegumfeldt, Helle Trap Friis  og Louise Fabian.

Hoved & Hale (8-12 år)

“En supersjov, spændende, inkluderende, fysisk måde at lave totalteater/undervisning på. Jeg kan på det VARMESTE anbefale alle institutioner, der har emne om kroppen, mennesket, evolution eller deslige at få fat i disse tre dygtige unge kunstnere.” Andreas Bræstrup Kirstein, lærer Bernadotteskolen

Læs mere om Hoved & Hale

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På gulvet: Kasper Daugaard Poulsen og Merete Byrial.

Varighed: 80 min. inkl. aktivering af børnene. Pris i DK: 8.500 inkl. moms, plus transport. Refusionsgodkendt indtil 2017.
Opstillingstid: 90 min.

Booking: TLF 6066 0886 – ckt@kulturriget.dk

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Head & Tail” offers an extremely funny, intriguing, inclusive and physical approach to total theatre/teaching. I strongly recommend all institutions with a focus on the body, the human being, evolution or the like to get in touch with these three clever artists.”
Andreas Bræstrup Kirstein, Bernadotte School, Hellerup, Denmark

 Read more about Head & Tail

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On the floor: Kasper Daugaard Poulsen og Merete Byrial.

Duration: 80 min. including activation of the children. Price in DK: 8.500 incl. vat, plus transport. Rigging: 90 min.

Booking: TLF 6066 0886 – ckt@kulturriget.dk

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Fall Fall She Fell (8-12 år)

”Superfunny and alternative theatre piece – and for sure something that will raise questions.” High school student

It was both a bit silly and a bit dangerous. When the man posed as a bird, that was really crazy.” Valdemar, 8 years old

Forestillingen har et minimum af tale, og kan også spilles på engelsk. Den har været vist i udlandet flere gange.

Læs mere om Fall Fall She Fell

Iscenesættelse: Christine Fentz. Performer: Brian Degn
Varighed
: 45 min.( inkl. ind- og udgang) Pris i DK: 8.500,- inkl. moms, plus rejse og ophold. Refusionsgodkendt til og med 2014.
Opstillingstid: 120 min. Nedtagningstid: 10 min. (ude af lokalet) Nedpakning: 60 min.

Booking: TLF 6066 0886 – ckt@kulturriget.dk

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– ”It was both a bit silly and a bit dangerous. When the man posed as a bird, that was really crazy.” Valdemar, 8 years old

– ”Superfunny and alternative theatre piece – and for sure something that will raise questions.” High school student

The performance has a minimum of speech and can be performed in English. It has been shown abroad several times.

Read more about Fall Fall She Fell

Staging: Christine Fentz. Performer: Brian Degn
Length
 45 min. incl. people getting in and out. Price in danish kroner: 8.500,- incl. vat, plus travel and stay
Rigging:
120 min. Desempling: 10 min. (out of the room) Packing: 60 min.

Booking: Phone +45 6066 0886 – ckt@kulturriget.dk

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In the Field (8-12 år)

It was therapie. It felt really nice and it was comfortable to have some tea. There were some sounds and we had to close our eyes. Some sound really frightend me! My dream would be to have a new home. I got many thoughts from Christine… Sara, child from Finland

Yesterday I was out, I played there. The morning is short and the evening is like the eternity, but I can make it shorter if I do something. This is a good village to live in, because it is small. In the summer is more fun than in the winter. Miisa, child from Finland

Læs mere om In the Field

Performer: Christine Fentz
Varighed
: 45 min. (inkl. ind- og udgang) Pris i DK: 6.700,- inkl. moms, plus rejse og ophold. Refusionsgodkendt til og med 2014. Opstillingstid: 120 min. Nedtagningstid: 30 min.

Booking: TLF 6066 0886 – ckt@kulturriget.dk

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– ”Thanks for a different, crazy, timeless, inspiring, pleasant evening with a lot wisdom served in a surprising and playful manner.” Festival 2010, Esbjerg

I think about Tuva and the houses there. I like places where strangers tell different stories. I would like to travel. Towns are wonderful, because they are full of people and shops.” Sini, 9 years old, Northern Finland

Read more about In the Field

Performer: Christine Fentz

Length: 45 min. (incl. in and out) Price in danish kroner: 6.700,- inkl. vat, plus travel and stay.
Rigging
: 120 min. Desempling: 30 min.

Booking: TLF 6066 0886 – ckt@kulturriget.dk

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Koreografi og dramaturgi – workshop

Dramaturgen Hildegard de Vuyst – bl.a. dramaturg for Alain Platel i det belgiske kompagni Les Ballet C de la B – arbejdede i fem dage med fem herboende koreografer og deres dansere, samt fire dramaturger med interesse for dans.

Workshoppen blev produceret af Secret Hotel i samarbejde med Danseværket, Århus og Skolen for Moderne Dans, København, og fandt sted på det daværende Gran – Teater for Dans, Århus.

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De deltagende koreografer var Sara Gebran, Kamilla Wargo Brekling, Annette Wiesner og Cristina Moura.

The dramaturge Hildegard de Vuyst – also dramaturge for Alain Platel in the Belgian compagny Les Ballet C de la B – worked for five days with five Danish based choreographers and their dancers, as well as four dramaturges with interest in dance.

The workshop was produced by Secret Hotel in collaboration with Danseværket, Aarhus and The Danish National School of Contemporary Dance, Copenhagen, and took place at Gran – Teater for Dans in Aarhus.

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The participating choreographers was Sara Gebran, Kamilla Wargo Brekling, Annette Wiesner and Cristina Moura.

FFSF – teknisk info

Tekniske krav:
– Spilleareal ca. 10×10 m. gulvplads, inkl. tilskuerområde.
– Adgang til 2 stk. 220 V / 10 A elektriske udgange/stikdåser;
– Forstærker og 2-4 højttalere, der forbindes til vores laptop,
– 30-50 stole, 30-50 kopper,

– Adgang til vand (ca. 20 l.) før forestillingen, Fuld teknisk info og dvd kan rekvireres.

Booking: FFSF@kulturriget.dk eller mail@secrethotel.dk

Tekniske krav:
– Spilleareal ca. 10×10 m. gulvplads, inkl. tilskuerområde.
– Adgang til 2 stk. 220 V / 10 A elektriske udgange/stikdåser;
– Forstærker og 2-4 højttalere, der forbindes til vores laptop,
– 30-50 stole, 30-50 kopper,

– Adgang til vand (ca. 20 l.) før forestillingen, Fuld teknisk info og dvd kan rekvireres.

Booking: FFSF@kulturriget.dk eller mail@secrethotel.dk

Andre forestillinger

Dramaturgisk arbejde for:
liminal.dk
clubfisk.dk
talirazga.dk
lonestar.dk
danshogskolan.se
http://www.danshogskolan.se/dh/forskning_ku/dans_forskning_och_utveckling/close_encounters_artists_on_artistic_research.html

felixart.dk

kassandra wellendorf

BÅLFÆRD – Sange for Balder, en teaterkoncert iscenesat af Christine Fentz, produceret af Teater Felix, 1997.

Dramaturgical work for:

liminal.dk
clubfisk.dk
talirazga.dk
lonestar.dk

danshogskolan.se
http://www.danshogskolan.se/dh/forskning_ku/dans_forskning_och_utveckling/close_encounters_artists_on_artistic_research.html

felixart.dk

kassandra wellendorf

Photos from old production, the theater concert BÅLFÆRD – Sange for Balder (Funeral Pyre – Songs for Balder), directed by Christine Fentz, produced by Teater Felix, 1997

Foredrag om Tuva og shamanisme m.v.

I forlængelse af mine mange rejser til Republikken Tuva i Sibirien (beliggende i Den russiske Føderation, nordvest for Mongoliet) siden 2004 giver jeg foredrag om landet, sælger cd’er med div. musikgrupper fra Tuva og arrangerer af og til også koncerter, når grupperne har mulighed for at besøge Danmark eller Skandinavien.

I august 2009 arrangerede jeg min første guidede tur til Tuva, for folk med interesse i shamanisme; her en deltagerrespons:

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Following my many travels to the Republic of Tuva in Siberia (situated NorthWest of Mongolia, and part of the Russian Federation) since 2004 I give travelogues about the country, arrange travels to Tuva, sell music-cds with Tuvan musicians, etc.

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In August 2009 I arranged my first guided tour to Tuva for people with specific interest in shamanism; here some response:

Salg af musikcd’er

Yat-Kha (Tuva)

Tyva Kyzy (Tuva)

Alash (Tuva)

Andre cd’er fra Tuva:

Musica Officinalis (Italien)

Yat-Kha (Tuva)

Tyva Kyzy (Tuva)

Alash (Tuva)

Other cds from Tuva:

Musica Officinalis (Italy)

In the Field (Voksne)

In the Field er en dragende cross-over mellem foredrag og forestilling. En fin performance om tid og rum for alle sanser – og for intellektet! […] Forestillingsforedraget inddrager og aktiverer publikum på en enkel og samtidig helt overbevisende måde. En stemningsfuld åbning af hverdagen.” Johanne Winding, lærer på Egå Gymnasium, efter visning for 3.g. dramaklasse

Thanks for a different, crazy, timeless, inspiring, pleasant evening with a lot of wisdom served in a surprising and artful manner. An evening which inspired and needs to be digested.” Fra vores gæstebog (Teaterfestival 10, Esbjerg)

Læs mere om In the Field

Performer: Christine Fentz
Varighed
: 45 min. Pris i DK: 6.700,- inklusive moms, plus transport. 
Oprigning
: 120 min. Nedrigning: 30 min.

Booking: TLF 6066 0886 – ckt@kulturriget.dk

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Thanks for a different, crazy, timeless, inspiring, pleasant evening with a lot of wisdom served in a surprising and artful manner. An evening which inspired and needs to be digested.” From our guestbook (Teaterfestival 10, Esbjerg)

I have searched for a long time for a performative format where it is ”just as much about us, as it is about you; you who know what will happen next”. Where we are together without any barrier between us and a stage. And now I have met it, tried it, this format is totally balanced, and like a kind of meditation and at the same time an eye-opener.” Ida Houkjær Jørgensen

Read more about In the Field

Performer: Christine Fentz
Lenght
: 80 min. Price in Danish kroner: 6.700,- including vat, plus transport.
Rigging
: 120 min. Sweeping: 30 min.

Booking: Phone +45 6066 0886 – ckt@kulturriget.dk

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Fall Fall She Fell (Voksne)

– “Tak for en fed, men speciel oplevelse, ny, god og sjov måde at se performance på. Havde ikke én egentlig forståelse af det. Så sidder tilbage med en masse forskellige tanker. Så tak”. Ane Bro, Morsø Gymnasium.

– “For mig er det et meget større rum og oplevelse, jeg oplever gennem det minimale teaterudtryk hos Secret Hotel, end i en storladen operaopsætning. Noget af det stærkeste er det, rummet gør ved en.” Pia Buchardt, kunstnerisk leder Kulturhus Århus

Forestillingen har et minimum af tale, og kan også spilles på engelsk. Den har været vist i udlandet flere gange.

Læs mere om Fall Fall She Fell

Iscenesættelse: Christine Fentz. Performer: Brian Degn

Varighed: 70 min. inkl. ind- og udgang Pris i DK: 8.500,- inkl. moms, plus rejse og ophold. Refusionsgodkendt til og med 2014. Opstillingstid: 120 min. Nedtagningstid: 10 min. (ude af lokalet) Nedpakning: 60 min.

Booking: TLF 6066 0886 – ckt@kulturriget.dk

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– ”It has such a fine and wonderful tone. Only rarely does audience participation become easy and cool – without feeling forced. But it works here! A warm atmosphere is developed from the performer’s attentive presence. We are allowed to just be there. Traces of different people’s lives emerge.” Cecilia Lagerström

The performance has a minimum of speech and can be performed in English. It has been shown abroad several times.

Read more about Fall Fall She Fell

Staging: Christine Fentz. Performer: Brian Degn
Length
70 min. Price in Danish kroner: 8.500,- incl. vat, plus travel and stay.
Rigging
: 120 min. Desempling: 10 min. (out of the room) Packing: 60 min.

Booking: Phone +45 6066 0886 – ckt@kulturriget.dk

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Curriculum Vitae

CV for CHRISTINE FENTZ, instruktør, dramaturg.

Dansk statsborger, født 6. februar 1971
Medlem af Foreningen af Danske Sceneinstruktører. Medlem af Uafhængige Scenekunstnere.

UDDANNELSE, kurser m.v.
2007              Laboratorie med Richard Foreman, OST og Odsherred Teatercenter, oktober.
2007              Deltager i Laboratorie 3 og 4, arrangeret af Kulturhus Århus, juni og december.
2006              Workshopdeltager på Re.searching, Malmö, Nordscen.
2004              Deltager som instruktør på Laboratorie 1 arr. af Kulturhus Århus.
2004              Deltager i Destination Helsinki, Nordscen projekt, feb..
2004-             Overbygning Nordic Master in Dance, Kbh. Uni, NTNU Trondheim og Stockholm Uni.
2002              Goat Island Summer School, Bristol, samt The CPR Summer Shift, Wales.
2001                            Kursusmodul 1-3 i instruktion med Vibeke Wrede.
Andre kurser, seminarier, etc. ikke nævnt her.

1991-2000         Cand. Phil. i dramaturgi fra Institut for Dramaturgi, Aarhus Universitet.
1996                            6 mdrs. studieophold i Bologna, herunder Institut för Scenkonst, Pontremoli, Italien.
1990              Studentereksamen, musiksproglig linie, Viborg Katedralskole.

INSTRUKTION og værker
2010              Iscenesættelse af
Midterbarn, Fortællekoncert. Tobias Trier og Karavane, projekteret.
2009
Fall Fall She Fell på Børneteaterfestivalen i Ballerup, april. Refusionsgodkendt til ’14.
2009              Fall Fall She Fell og In the Field på Festival Teater på Kanten, samt Hørdum Kulturlandsby, januar
2009-10         Vandringsforestillng, med Kasper Daugaard Poulsen og Brian Degn, projekteret.

2008              Fall Fall She Fell gæstespil på Teatterii Barker, Turku, Finland.
2008              Erindringstråde. Rum- og lydinstallation, Godsbanen, Kulturnatten Århus. M. T. Stål.
2008              Premiere In The Field (performance lecture, refusionsgodkendt), co-prod. Entré Scenen, Århus. Vist bl.a. på Tokalynga Teaterakademi, Zene+, Brandbjerg Højskole.
2008              Fall Fall She Fell, Gæstespil på Atalante – Göteborg, Tokalynga – Ätran (Sverige).
2008              Visning af In The Field på Performer Stammtisch, Berlin, samt Tokalynga, Sverige.
2007              Fall Fall She Fell opført på Morsø Gymnasium
2007              Visning af performance lecture skitse på Moderna Dansteatern, 30. sept.
2007              4mdr. Nordic Resort residency,Högskolan för Scen & Musik, Göteborg, via Nordscen.
2006/07         Instruktør/tilrettelægger af dokumentarfilm Når sjælen sidder i håret. Fra Tuva, Centralasiatisk Sibirien. Vist på DR2 januar og marts 07. På festival i Sverige 07.
2006              Fall Fall She Fell vist på P@rt, international showcase, og under Århus Festuge.
2004-05         Iscenesætter af solo Fall Fall She Fell, Secret Hotel. Arbejdsvisninger og festivaldeltagelser, DK og Rusland. Premiere Entré Scenen, nov. 05.
2004              Det tomme Bord. Interaktiv event med gæster, Tina Andersen, Lisbeth Sonne og Søren Ruby
2004              House. Installation foran Det svenske Teater i Helsinki, febr., m Henrik Vestergaard Pedersen, Berit Rusten, Anni Gustafsson og Eero-Tapio Vuori.
2003              Instruktør af musikforestilling Den gyldne Maritime med Tobias Trier og Jens Blendstrup. Secret Hotel, Entré Scenen og Junge Hunde, Kanonhallen, forår.
2002              Inviteret som scenekunstner til ArtGENDA 2002, Hamborg med 5 værker, bl.a.:
2002              Vorlesung über Stau, trafikhappening, m. B. Forstreuter, under ArtGENDA
2002              Controlled Breathing, gadeaktioner, m. B. Forstreuter, under ArtGENDA
2002              Growing Home, videoinstallation i vindue, under ArtGENDA
1999                            Initiativtager og instruktør på Aften Land, Secret Hotel og Teater Felix.
1999              Instruktør af BÅLFÆRD, februar og september på Den Anden Opera, København.
1998              Nyopsætning af BÅLFÆRD som installationskoncert på Kvindemuseet, Århus.
1997              Instruktør af teaterkoncerten BÅLFÆRD – Sange for Balder, MBT-Scenen.
1995              Instruktør af børne- og voksenforestillingen Mattak for Teater Felix, turné Århus Amt.
1993              Instruktør af happening Don’t mind the Title, foyeren i Musikhuset, Århus.
1991              Instruktør af Twelve Feather tickling… vist på Viborg Teater.

DRAMATURGI
2009-10         Deltager i
Red Dress (arbejdstitel) m. Sophie Haviland (US) m.fl., støttet af Sku
2009              Dramaturg for Tali Rázga, Sneøjne, danseforestilling for 3-årige. Premiere april
2008              Dramaturg for Petra Berg Holbek, Susan Sontag-projekt, koncept/manusudvikling.
2007              Dramaturg for Tali Rázga Al+Ene; Prøvehallen, okt-nov.
2007              Dramaturgisk konsulent for Per Roar Thorsnes, Oslo.
2007              Reflektør på Close Encounters, Danshögskolans træf om artistic research, Stockholm
2007              Dramaturg på Mis-Møder, lab ved Kassandra Wellendorf om interaktivitet. På Plex.
2007              Dramaturgisk konsulent på Livliner af koreograf Malene Hertz, Dansescenen.
2006/07         Initiativtager og kurator på Luft fra Det gamle Årtusinde, udstillet i Ungarn, et al.
2006              Dramaturgisk konsulent, Gennem mit Øje, Tina Lauritsen, Teater Felix, sept., Århus.
2006              Dramaturg for Adelaide Bentzon, Lige Efter Planen, Den Anden Opera, april.
2006              Dramaturg for Kasper Daugaard Poulsen, Forestillinger, Dansescenen, marts, m.v.
2005              Dramaturg for Tina Lauritsen, Teater Felix, Drive//Driven, Entré Scenen, marts.
2005              Moderator på del af festivalen Berliner Luft, Kanonhallen, april.
2004              Dramaturg for Petra Berg Holbek/Lone Star Productions på Øjeblik, bliv stående! Vandringsforestilling over tekst af Elfriede Jelinek. Kbh’s Universitet, nov.
2004              Dramaturg for Adelaide Bentzon, Ingmar Jones, Junge Hunde, Kanonhallen, maj.
2004              Dramaturg på Skifter, Teater Felix, KaserneScenen, Århus april.
2002              Initiativtager og ordstyrer på international workshop i dramaturgi & koreografi.
2002              Kurator, City Crash – A Walk Thru Aarhus, IETM, Kulturhus Århus & Århus Festuge.
2001              Ordstyrer på del af seminar om Koreografi & Dramaturgi, Barcelona.

2001                            Dramaturg og co-director på Melanie Thompsons kommission til Århus Festuge.
2000                            Kurator og dramaturg på Secret Hotels Passing Through – en Live Art Event.
1998              Dramaturg på Thomas Bjerregaards afgangsfilm Ivana fra Den tjekkiske Filmskole.

UDØVENDE
2008-             Værtinde/optrædende i In The Field, performance lecture (eget værk, Secret Hotel).
Vist og skal vises mange steder i DK og udland.
2007              Spiller i filmoptagelser for Richard Forman, The Bridge Project.
2002              Performer i egne værker under ArtGenda 2002, Hamborg.
1999              Performer i Aften Land under Århus Festuge.
1997                            Skuespiller i to afgangsfilm fra Den tjekkiske Filmskole, samt div. skoleøvelser.
1991-1996         Skuespiller og instruktørassistent i den tyske gruppe Theater Fusion. Spillet i forestillinger i Tyskland, samt europæiske festivalturnéer.

LEGATER o.a.
2008              Residency hos The Performance Corporation, Irland.
2007              Nordic Resort Residency 4 mdr. på Högskolan för Scen & Musik, Göteborg.
2004              Rejselegat fra Foreningen af Danske Sceneinstruktører
2004              Legatophold på Klitgården Refugium, Dansk Kunstnerråd.
Diverse rejsestipendier fra Sleipnir, m.v.

PRODUKTIONSARBEJDE o.lign.
2008              Manager for Musica Officinalis (musik fra Italien, Go Global-turné m.v.)
2001              Location Manager på Agnethe, Den Danske Filmskole
2001                            Pressemedarbejder for Skuespillet, Det kongelige Teater, på tre forestillinger.
2001              Pressearbejde for Uppercut Danseteater og Det 3. Teater.
2001-2000     Arrangør af div. gæstespil med dans på Entré Scenen. www.secrethotel.dk
2000              Produktionsledelse på bl.a. Passing Through – en Live Art Event, Secret Hotel.
1995              PR-chef for Festugeprojektet EAST GATE, Århus Festuge.
1995              Produktionsleder & PR-ansvarlig for Teater Akadenwa på Displacement.
1993-1995     Arrangør af gæstespil, filmseminar, events og lignende.

TILLIDSHVERV o.a.
2006              Kulturrådmandens tænketank for teater i Århus
2006              Medlem af Følgegruppen for Ridehusets ombygning, Århus
2005-             Medstifter og ordførende af Uafhængige Scenekunstnere, www.scenekunstnere.dk
2005-             I Legatudvalget for Foreningen af Danske Sceneinstruktører.
2005-             Optaget i Danske Kvindelige Æventyrere.
2003-             Optaget i Foreningen af Danske Sceneinstruktører.
1999-             Medstifter og kunstnerisk leder af produktionsenheden og kunstnernetværket Secret Hotel. Projektkontor hos Kulturhus Århus. www.secrethotel.dk Ene kunstneriske leder siden 2006.
1997-             Bestyrelsesmedlem/næstformand i Danseværket Århus. Formand 2006-2007.
1995-2001     Bestyrelsesmedlem i Foreningen af Danske Dramaturger.
Div. bestyrelsesarbejde i andre felter end scenekunst.

ARTIKLER, PUBLIKATIONER, etc.
2009              Bidrag til Antology, practicebased research, Nordic Summer University.

2008              Bidrag til Peripeti, tidsskrift for dramaturgiske studier. 10-2008.
2008              En festival med mange tråde. Artikel om Connections, til Teater1, februar.
2006-2008     Redaktør m. Henrik Vestergaard på serie til aarhus.nu og til Det Postomdelte.
2007              Artikel til Danshögskolans (Sthlm) bog om practicebased research. Vinter 07/08.
2007              En utraditionel kulturkamp. Det Postomdelte, Sceneinstruktørernes fagblad.
2007              Fra Rejselegat til forestilling og tv-produktion. Det Postomdelte, Sceneinstruktr.blad.
2005              Stedets tale og tekstens tale. Om stedsspecifik opsætning af Elfriede Jelinek-tekst.
2005              Investering i kunsten gavner hele samfundet. Debatindlæg m. A. Lewis, JP 20/12.
2004              Dans for kamera eller dans for instruktør?, Terpsichore.
2004              Tyva, Sibirien, Sommer ´04. Det Postomdelte, Sceneinstruktørernes fagblad.
2004              Det frie sceneliv i Århus. Det Postomdelte, Sceneinstruktørernes fagblad.
2004              Procesdramaturgen. Det Postomdelte, Sceneinstruktørernes fagblad.
2002              Dramaturgen som den loyale kritiker, Terpsichore.
Diverse programartikler, o.a., samt artikler til tidsskrifter i andre fagområder end scenekunst.

UNDERVISNING o.a.
2008              Huskunstner på Egå Gymnasium, 3. g., Egå/Århus, oktober.
2008              Arkitektstuderende, Arkitektskolen Århus – i atmosfærer og brug af rum, september.
2008              Arkitektstuderende, Arkitektskolen Århus – i atmosfærer og brug af rum, forår.
2008              Huskunstner på Morsø Gymnasium, Nykøbing Mors, 1. g dramaklasse.
2007              Arkitektstuderende, Arkitektskolen Århus – i atmosfærer og brug af rum.
2007              2. årseleverne, Högskolan för Scen & Musik, Göteborg – performancemetoder.
2004              Kursus i koreografi og dramaturgi, Dansit/NTNU, Trondheim. M. Adelaide Bentzon.

* * *

Sprogkundskaber: Engelsk, tysk, italiensk, svensk. Lærer pt. russisk.

Hjemmesideadresser for kunstnere/kompagnier, jeg har arbejdet for (muligvis ikke opdaterede),

udover www.secrethotel.dk (der dog desværre er under omprogrammering 2009):

www.talirazga.dk

www.clubfisk.dk

www.liminal.dk

www.lone-star.dk

CHRISTINE FENTZ

Danish Citizen, born February 6th 1971.

Member of Danish Stage Directors Union. Member of Independent Stage Artists.

EDUCATION etc.

2006-09 Nordic Summer University, Study Circle on Practice Based Research.

2007 Participant on Richard Forman The Bridge Project – laboratory/filmproject, Denmark

2007 Participant on Laboratory, Cultural House Aarhus, w/ Thomas Hejlesen

2004-06 Participant on multiple seminars, workshops and projects by Nordscen.org

2004- Courses at Nordic Master in Dance (Norwegian, Danish, Swedish University collaboration).

2001 Workshop on directing led by director Vibeke Wrede.

1991-2000 Master (Cand.Phil.) in Dramaturgy, Institute of Dramaturgy, University of Aarhus

1991-2001 6 months studies in Bologna and Pontremoli (Institute of Performing Arts), Italy

1990 High School Exam, major in music, Viborg Katedralskole.

Other seminars, laboratories, etc., not mentioned here.

ARTISTIC WORK

2010 Music performance for children, with Tobias Trier and Dy Plambeck – pending

2009 Project w dancer/choreo Kasper Daugaard Poulsen and Brian Degn – pending.

2009 Guest play with In the Field at Aktör & Vänner, Gothenburg.

2009 Fall Fall She Fell on Childrens Theatre Festival, Ballerup, April.

2009 Fall Fall She Fell and In the Field on Festival Teater paa Kanten, Thisted, DK.

2008 Threads of Memory. Installation, Godsbanen, Kulturnatten Århus. With Tobias Stål.

2008 Creator and performer of performance lecture In the Field, with invited artists.

Shown at Zene+, Atalante in Gothenburg and Tokalynga in Halland, Sweden, a.o.

2008 Showing of work-in-progress perf.lecture at Performer Stammtisch, Berlin, a.o..

2008 Guest performances with Fall Fall She Fell and In the Field in Sweden + DK

2007 Showing of work-in-progress In the Field at Moderna Dansteatern, Sweden.

2007 Film Growing Soul… shown on Hele Sveriges Fimlfestival, Jokkmokk, Sweden.

2007 4 months residency at Academy of Music and Drama, University of Gothenburg.

2007 Participant on Laboratory on Performance, June + Dec., w/ Thomas Hejlesen.

2006-07 Director of TV-documentay Growing Soul – My Daughter’s Ritual Journey, made in DK and Republic of Tuva, Centralasian Siberia. On Danish State Television four times during ‘07.

2004-05 Director of solo Fall Fall She Fell, Secret Hotel. Work in progress shown in St. Petersborg, premiere at Entré Scenen, Aarhus, further showing and tour planned for 07.

2004 Around the empty Table. Participatory theatrical event, as result of Laboratory No. 1, arr. by Cultural House Aarhus.

2004 House. Installation in front of The Swedish Theatre, Helsinki, Febr., w/ Henrik Vestergaard Pedersen, Berit Rusten, Anni Gustafsson and Eero-Tapio Vuori.

2003 Director of musicperformance with musician Tobias Trier. Secret Hotel, Aarhus & Cph

2002 Invited artist to Baltic art biennale ArtGENDA 2002, Hamborg, June, w/ following works, a.o.:

– Growing Home. Video installation in public window. ArtGENDA.

– Vorlesung über Stau / Lecture on Traffic Congestion. Traffic Happening. ArtGENDA

– Deutsches Liederabend w/ B Forstreuter. House visit. Part of House Call, ArtGENDA

Controlled Breathing, with Burkhard Forstreuter. ArtGENDA 2002

1999 Artistic director and director of site specific performance Aften Land by Secret Hotel and Teater Felix, Aarhus.

1999 Artistsic director and director of BÅLFÆRD, February and September at Den Anden Opera, Copenhagen.

1998 Director of BÅLFÆRD as installation concert at The Womens Museum, Aarhus.

1997 Artistic director and director of the theatreconcert BÅLFÆRD – Sange for Balder, Aarhus.

1995 Director of the children’s theatre performance Mattak for Teater Felix, Aarhus.

1993 Director of Happening Don’t mind the Title, the foyer of the Music Hall, Aarhus.

1991 Director of Twelve Feather tickling… shown at the Viborg Theatre, Viborg.

DRAMATURGY, a.o.

2009 Dramaturge on Red Dress, with Sophie Haviland a.o., Bridge Project.

2009 Dramaturg for Tali Rázga, Sneøjne, dance performance for small kids. April.

2008 Dramaturge on development project on Susan Sontag, for Director Petra Berg Holbek.

2007 Dramaturge on Al+Ene, for choreographer Tali Rázga, Proevehallen, Nov.

2007 Dramaturge on laboratory on performance and interactivity, by Kassandra Wellendorf, Plex.

2007 Dramaturgic consultant on Livliner by choreographer Malene Hertz, Dansescenen, Feb.

2006-07 Curator of art project: tinned air from the old millennium, presently exhibited in Hungary

2006 Dramaturgic consultant on Gennem mit Øje, Teater Felix, sept., Aarhus.

2005/06 Dramaturge for Adelaide Bentzon, Lige Efter Planen, Den Anden Opera, Cph. April.

2006 Dramaturge for choreographer Kasper Daugaard Poulsen on Forestillinger, Dansescenen, Cph. April. Part of Aerowaves and extensive Europe-tours -2009.

2005 Dramaturge for Tina Lauritsen on Drive//Driven, Entré Scenen, Marts.

2004 Dramaturge for Petra Berg Holbek on site-specific perf. w/ text by E. Jelinek, Nov. Cph

2004 Dramaturge for Adelaide Bentzon on Ingemar Jones, Junge Hunde, May, Chp.

2002 Initiative and chair on workshop & open-door w/ Hildegard De Vuyst (BE), Aarhus.

2002 Curator on artistic city walk for the IETM meeting in Aarhus, October.

2002 Dramaturge on dance performance Bound to Fail by choreographer Adelaide Bentzon, Den Anden Opera, Copenhagen, May.

2001 Chair on part of seminar on Choreography & Dramaturgy, Barcelona.

2001 Dramaturg and co-director on Melanie Thompsons commision Tourist of the Heart for the Aarhus Festival.

2000 Director’s assistant on Happiness by Kim Eden, Tin Box, Aarhus & Copenhagen.

2000 Curator and dramaturge on Secret Hotels Passing Through – en Live Art Event, Aarhus.

1998 Dramaturge on Thomas Bjerregaards graduation film Ivana from The Czech Film School, Prague.

PERFORMING

2008 Hostess in In The Field, own performance lecture.

1999 Performer in Aften Land during the Aarhus Festival.

1996 Actress in two graduation films from The Czech Film School, as well as various school films.

1991-1996 Actress and director’s assistant in German Theater Fusion. Performed in Germany and at international festivals.

PRODUCTIONWORK a.o.

2001 Press Officer for theatre and drama, The National Theatre, Copenhagen.

2001 Press work for Uppercut Danseteater and The 3. Theatre, Copenhagen.

2001-2000 Organiser of various visting dance performances at the Entré Scenen, Aarhus.

2000 Production Manager on Passing Through – en Live Art Event, Secret Hotel a.o..

1995 Press Officer for EAST GATE, The Aarhus Festival.

1995 Production Manager & Press Officer for Teater Akadenwa on Displacement, Aarhus.

1993-1995 Organiser of visiting performances, seminar on film, events, etc., Aarhus.

MISCELANEOUS

2008 Two-week residency at The Performance Corporation, Ireland, April.

2007 Four-months residency at Academy of Music & Drama, Gothenburg, via Nordscen.

2005- Member of Scholarship Board of Danish Stage Directors Union

2003- Member of Danish Stage Directors Union.

2005- Cofounder and head of board of Cultural Political organization Independent Stage Artists. www.scenekunstnere.dk (Uafhaengige Scenekunstnere)

2004 Scholarship for travel to Republic of Tuva, (RF), researching shamans as inspiration for theatre – solo Fall Fall She Fell is the result of this travel.

2004 Scholarship for fortnight working space at Refugium Klitgaarden; from Dansk Kunstnerraad.

1999- Co-founder and artistic director together with Synne Behrndt of production unit and artists network Secret Hotel. Project office in the Cultural House of Aarhus. Artistic Director since ’05.

1997- Board member of Dansevaerket, Aarhus. Head of board 2006-07.

1995-2001 Board member of The Union of Danish Dramaturgs (FDD).

A.o.

ARTICLES, PUBLICATIONS

2009 Part of Antology, on practicebased research, Nordic Summer University, pending.

2008 Part of magazine Peripeti, 10-2008, theme: Dramaturges.

2008 A Festival of many Threads. Teater 1, about Connections by www.dansevaerket.dk

2007-08 Co-editor with H. Vestergaard Friis, series on contemporary stage art, for Det Postomdelte

2007 Article for book on practicebased research. University College of Dance, Stockholm,

2007 En utraditionel kulturkamp. Det Postomdelte, Magazine for Stage Directors.

2007 Fra Rejselegat til forestilling og tv-produktion. Det Postomdelte, Stage Director’s mag.

2005 Stedets tale og tekstens tale. On sitespecifik staging of text by Elfriede Jelinek.

2005 Investering i kunsten gavner hele samfundet. Debatindlæg m. A. Lewis, JP 20/12.

2004 Dans for kamera eller dans for instruktør?, Dance magazine Terpsichore.

2004 Tyva, Sibirien, Sommer ´04. Det Postomdelte, Magazine for Stage Directors.

2004 Det frie sceneliv i Århus. Det Postomdelte, Magazine for Stage Directors.

2004 Procesdramaturgen. Det Postomdelte, Magazine for Stage Directors.

2002 Dramaturgen som den loyale kritiker, Dance magazine Terpsichore.

Various articles for performance programmes, a.o.

TEACHING

2008 Students of architecture, Aarhus. On atmosphere and uses of spaces and rooms.

2007 Visiting artist at Morsoe High School – pupils learning about performance methods.

2007 Students of architecture, Aarhus. On atmosphere and uses of spaces and rooms.

2007 Second year students at Academy of Music & Drama, Gothenburg. On working methods for physical-visual theatre.

2004 Workshop on choreography and dramaturgy. Dansit/NTNU, Trondheim, Norway. With choreographer Adelaide Bentzon.

* * *

Member of Union of Danish Stage Directors (www.stagedirectors.dk) and

Independent Stage Artists (www.scenekunstnere.dk) and Danish ITI.

Member of Female Adventures Club, Denmark.

Languages: Danish, Swedish, English, German, Italian. Studying Russian.

Separate list of conferences, etc. available…

* * *

Homepages for companies I’ve worked for, besides my own work at www.secrethotel.dk:

www.clubfisk.dk

www.liminal.dk

www.lone-star.dk

www.talirazga.dk

Christine Fentz

Jeg er cand.phil. i Dramaturgi fra Aarhus Universitet (2000), og instruktør (medlem af Foreningen af Danske Sceneinstruktører siden 2003)

Jeg arbejder løbende som dramaturg, hovedsageligt på fysisk-visuelt arbejde og for koreografer.
Se mere

I 2005 var jeg medstifter af den kulturpolitiske interesseorganisation Uafhængige Scenekunstnere, og har fungeret som ordførende siden 2005 og til og med 2009. scenekunstnere.dk

Desuden giver jeg foredrag om Tuva, arrangerer rejser dertil, giver workshops, sælger musik-cd’er, m.v.

Mere info om arbejde udenfor Secret Hotel her.

Curriculum Vitae

I have an MA in Dramaturgy from the University of Aarhus (2000) and am a Stage Director (member of The Union of Danish Stage Directors since 2003)

I work as a dramaturge for choreographers and directors, mostly on physical-visual work, and dance. See more

In 2005 I cofounded the cultural political organisation Uafhaengige Scenekunstnere (Independent Performing Artists), which I’ve chaired since 2005 and until 2010.scenekunstnere.dk

I also give traditional travelogues on my travels to Siberian Tuva, arrange travels, give workshops, and sell music-cd with throat-singers, a.o.

More info on my work outside Secret Hotel here.

Curriculum Vitae

Anmeldelse af Fall Fall She Fell, Göteborg

Performance: Atalante, Göteborg, 25-26/4

Existensen genom nyckelhålet

Vad händer i den nordiska röst- och performancekonsten just nu? Under den sista helgen i april erbjöd det pigga dans- och teaterforumet Atalante i Göteborg en möjlighet att närma sig den frågan. I helaftonsföreställningen Peep performance presenterades nämligen ett litet axplock ur den gissningsvis oöverblickbara mängden konstnärliga uttryck – två svenska och en dansk. De sinsemellan rätt olika delarna förenades underhand i en medskapandets konst där publiken aldrig tilläts att slumra till eller bli passiva mottagare. Bara en sådan sak är värd att applådera.

[… – om Fall Fall She Fell af Secret Hotel]

När denna omtumlande och nyansrika maratonkväll närmade sig sin upplösning placerades publiken på scenen. Subjekt och objekt, betraktare och betraktad – alla positioner blev osäkrade när danska Secret Hotels gästspel Fall fall she fell omärkligt gled in i och sedan ut ur sig självt. Ja, det fanns faktiskt ingen given startpunkt eller slut på denna aftonens mest intensiva och helt klart bästa del. Dansaren och skådespelaren Tina Andersen smög runt och delade ut polaroidbilder märkta med namn, varefter hon rullade upp en av allt att döma rörlig kronologi i historien om korrelationen mellan de personer som faktiskt inte ens avbildades på fotografierna. Inte bara positionerna, men hela situationen, osäkrades därmed. Att därpå dricka en ovanligt god kopp thé och uppmanas att lämna lokalen efter eget huvud framstod som ett sätt lika gott som något att avsluta ett njutbart spektakel som i sanning låtit åskådaren betrakta den bräckliga existensen genom ett dragigt nyckelhål.

Roberth Ericsson

http://www.tidningenkulturen.se/content/view/2842/145/

Peep performance
SMOK: SMOK Hits
Av och med: Lena Fridlund och Anne Pajunen
Monique Wernhamn: Köp ett nytt (kravmärkt) liv, del 2
Secret Hotel: Fall Fall She Fell
Idé och iscensättande: Christine Fentz
På scen: Tina Andersen

Atalante, Göteborg, 25-26/4

[resten af anmeldelsen – om de andre forestillinger]

Den experimentella röstkonsten är en styvmoderligt behandlad disciplin på svenska scener. Inte minst därför var det glädjande att möta Svenska Moderna Operaensemblen, SMOK, och deras egensinniga betraktelse över död och återfödelse. Med två kvinnoröster till musik av blanda andra Puccini, John Cage och Stravinskij skapades i det knappt timslånga framträdandet en mosaik av stämningar. Särskilt drabbande var inledningen, ett röstcollage i vilket “Rebirth control pills” lanserades som ett led i kritiken av människans fåfänga strävan efter evig ungdom. På vägen ut radade publiken mangrant och lydigt upp sig för att komma ett av dessa symboliska lyckopiller till del. Att ingen avstod blev i sig en skrämmande del av gestaltningen.

I andra akten introducerade Monique Wernhamn sin burleska variant av den förmenta vägen till lycka – potentialen att köpa ett helt nytt liv, till på köpet kravmärkt och anpassat efter varje tänkbar önskning. Som klassisk husmor i en lika standardiserad flygvärdinnedräkt förevisade hon till en högt pitchad berättarröst det egendomliga framgångskonceptet – livet reducerat till den ekonomiska kalkylen tillgång/efterfrågan. Sådan är onekligen kapitalismen i sin absurda förlängning. En väg ut ur denna klaustrofobiska tvångstanke blir då givetvis att välja det “könlösa livet”, det vill säga chansen att få vara “bara människa”. Om livet ändå inte är mer än ett bakverk kan man lika gärna slå till på en vänsterarm också, så att det åtminstone framstår som någorlunda “speciellt”. Och om man som av en händelse önskar binda ihop denna oformliga massa – blanda i ett kycklinglik. Wernhamn är lika vulgärt subtil i sin undermening som i sin performance. Den kongenialt klämkäcka iscensättningen fick en onekligen att längta efter en annan tillvaro, bortom de jordiska betingelserna och ännu längre bort från kadavren.TO BE TRANSLATED

Performance: Atalante, Göteborg, 25-26/4

Existensen genom nyckelhålet

Vad händer i den nordiska röst- och performancekonsten just nu? Under den sista helgen i april erbjöd det pigga dans- och teaterforumet Atalante i Göteborg en möjlighet att närma sig den frågan. I helaftonsföreställningen Peep performance presenterades nämligen ett litet axplock ur den gissningsvis oöverblickbara mängden konstnärliga uttryck – två svenska och en dansk. De sinsemellan rätt olika delarna förenades underhand i en medskapandets konst där publiken aldrig tilläts att slumra till eller bli passiva mottagare. Bara en sådan sak är värd att applådera.

[… – om Fall Fall She Fell af Secret Hotel]

När denna omtumlande och nyansrika maratonkväll närmade sig sin upplösning placerades publiken på scenen. Subjekt och objekt, betraktare och betraktad – alla positioner blev osäkrade när danska Secret Hotels gästspel Fall fall she fell omärkligt gled in i och sedan ut ur sig självt. Ja, det fanns faktiskt ingen given startpunkt eller slut på denna aftonens mest intensiva och helt klart bästa del. Dansaren och skådespelaren Tina Andersen smög runt och delade ut polaroidbilder märkta med namn, varefter hon rullade upp en av allt att döma rörlig kronologi i historien om korrelationen mellan de personer som faktiskt inte ens avbildades på fotografierna. Inte bara positionerna, men hela situationen, osäkrades därmed. Att därpå dricka en ovanligt god kopp thé och uppmanas att lämna lokalen efter eget huvud framstod som ett sätt lika gott som något att avsluta ett njutbart spektakel som i sanning låtit åskådaren betrakta den bräckliga existensen genom ett dragigt nyckelhål.

Roberth Ericsson

http://www.tidningenkulturen.se/content/view/2842/145/

Peep performance

SMOK: SMOK Hits
Av och med: Lena Fridlund och Anne Pajunen
Monique Wernhamn: Köp ett nytt (kravmärkt) liv, del 2

Secret Hotel: Fall Fall She Fell
Idé och iscensättande: Christine Fentz
På scen: Tina Andersen

Atalante, Göteborg, 25-26/4
[resten af anmeldelsen – om de andre forestillinger]

Den experimentella röstkonsten är en styvmoderligt behandlad disciplin på svenska scener. Inte minst därför var det glädjande att möta Svenska Moderna Operaensemblen, SMOK, och deras egensinniga betraktelse över död och återfödelse. Med två kvinnoröster till musik av blanda andra Puccini, John Cage och Stravinskij skapades i det knappt timslånga framträdandet en mosaik av stämningar. Särskilt drabbande var inledningen, ett röstcollage i vilket “Rebirth control pills” lanserades som ett led i kritiken av människans fåfänga strävan efter evig ungdom. På vägen ut radade publiken mangrant och lydigt upp sig för att komma ett av dessa symboliska lyckopiller till del. Att ingen avstod blev i sig en skrämmande del av gestaltningen.

I andra akten introducerade Monique Wernhamn sin burleska variant av den förmenta vägen till lycka – potentialen att köpa ett helt nytt liv, till på köpet kravmärkt och anpassat efter varje tänkbar önskning. Som klassisk husmor i en lika standardiserad flygvärdinnedräkt förevisade hon till en högt pitchad berättarröst det egendomliga framgångskonceptet – livet reducerat till den ekonomiska kalkylen tillgång/efterfrågan. Sådan är onekligen kapitalismen i sin absurda förlängning. En väg ut ur denna klaustrofobiska tvångstanke blir då givetvis att välja det “könlösa livet”, det vill säga chansen att få vara “bara människa”. Om livet ändå inte är mer än ett bakverk kan man lika gärna slå till på en vänsterarm också, så att det åtminstone framstår som någorlunda “speciellt”. Och om man som av en händelse önskar binda ihop denna oformliga massa – blanda i ett kycklinglik. Wernhamn är lika vulgärt subtil i sin undermening som i sin performance. Den kongenialt klämkäcka iscensättningen fick en onekligen att längta efter en annan tillvaro, bortom de jordiska betingelserna och ännu längre bort från kadavren.

Fall Fall She Fell

Er vi alene i denne verden? Hvor langt er der mellem de døde, og os der stadig lever? Performance med både poesi og humor, inspireret af Sibiriens shamaner.Er vi alene i denne verden? Hvor langt er der mellem de døde, og os der stadig lever? Performance med både poesi og humor, inspireret af Sibiriens shamaner.

Som gæst ved denne performance smelter man for en stund ind i et univers, hvor en underfundig fortælling om menneskets væren foldes ud, mens tiden bevæger sig i flere retninger. Er vi alene i denne verden? Hvor langt er der mellem de døde, og vi, der stadig lever?
Tilskuerne er placeret i en trekant omkring den optrædende; mellem henkogningsglas, fugle, kridttegninger og polaroidfotos fyldes rummet af historier om dem, der ikke er på jorden længere. Store spørgsmål sniger sig gennem luften i et rum, der giver plads og anledning til eftertænksomhed, fantasi og latter.

As a guest at this performance one melst into a universe, where a subtle story about humans existence unfolds and time moves in various directions. Are we alone in this world? How far apart are the deceased and those still alive?
The viewers are placed in a triangle around the performer, and among old preserving jars, stuffed birds, crayon drawings and polaroids the room fills up with stories about those no longer among us. Big questions hover in a setting of thoughtfulness, laugther and imagination.

Continue reading “Fall Fall She Fell”

Iscenesættelse: Christine Fentz
Performer: Brian Degn (oprindeligt skabt med Tina Andersen)
Komponist: Rune Søchting
Scenografi og lysdesign: Adalsteinn Stefansson

Turnéinfo

I april 2009 spillede Fall Fall She FellBørneteaterfestivalen i Ballerup. Fall Fall She Fell blev i januar vist på Egå Gymnasium og Thisted Gymnasium (under festivalen “Teater på Kanten” i Thy)

I april 2008 gæstespillede Fall Fall She Fell (med Tina Andersen) på Atalante, scenen for samtidskunst i Göteborg. Gæstespillet var en del af minifestivalen”Peep Performance – Performancekalas”, hvor også to andre scenekunstnere deltog. Se anmeldelse.

I maj 2008 deltog Secret Hotel i 20-års jubilæet for Teater Albatros på Tokalynga Teaterakademi i Halland. Jubilæet blev fejret med flere arrangementer i løbet af året, og Secret Hotel deltog i festivalen Kvindelige Scenekunstnere. Vi spillede både Fall Fall She Fell (med Tina Andersen) og In the Field, og dokumentarfilmen Når sjælen sidder i håret blev vist.

Iscenesættelse: Christine Fentz
Performer: Brian Degn (oprindeligt skabt med Tina Andersen)
Komponist: Rune Søchting
Scenografi og lysdesign: Adalsteinn Stefansson

Turnéinfo

I april 2009 spillede Fall Fall She FellBørneteaterfestivalen i Ballerup. Fall Fall She Fell blev i januar vist på Egå Gymnasium og Thisted Gymnasium (under festivalen “Teater på Kanten” i Thy)

I april 2008 gæstespillede Fall Fall She Fell (med Tina Andersen) på Atalante, scenen for samtidskunst i Göteborg. Gæstespillet var en del af minifestivalen”Peep Performance – Performancekalas”, hvor også to andre scenekunstnere deltog. Se anmeldelse.

I maj 2008 deltog Secret Hotel i 20-års jubilæet for Teater Albatros på Tokalynga Teaterakademi i Halland. Jubilæet blev fejret med flere arrangementer i løbet af året, og Secret Hotel deltog i festivalen Kvindelige Scenekunstnere. Vi spillede både Fall Fall She Fell (med Tina Andersen) og In the Field, og dokumentarfilmen Når sjælen sidder i håret blev vist.Staging: Christine Fentz
Performer: Brian Degn (originally created with Tina Andersen)
Compoer: Rune Søchting
Set design and light design: Adalsteinn Stefansson
Duration: 70 minutes
For both adults and youths.

Fall Fall She Fell is a peculiar and inviting performance at the same time. A perfect introduction to what performance theatre can be when both humorous, consequent and wants to say something.

Fall Fall She Fell explores our memories of the deceased. The performance conveys atmospheres and fragments of several human destinies, but does not tell one single story. Like a caretaker for the deceased, performer Brian Degn vitalizes and evokes parts of various lives. As the performance proceeds the fragments seem to come together in a greater context. These fragmented stories along with the sound design talk to the senses of the audience. Each person elaborates on the stories through associations and reactions and thus become co-narrator of the destinies that are encountered. The performance obviously points to its own structure and the theatrical magic is established and taken apart right before the eyes of the audience.
Fall Fall She Fell has been showed several places in Denmark, at festivals and high schools, as well on Atalante in Gothenburg, Sweden, on Body Navigation Festival in St.Petersborg, and on Tokalynga Theatre Academy in Sweden.

Når sjælen sidder i håret

Tre-årige Jasmin skal klippes for første gang.

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Danske Benedikte har en datter sammen med Nazyn fra Tuva i Sibirien. Hun har valgt at følge faderens shamanistiske tradition og nu skal Jasmin besøge sin far i Tuva for at følge den lokale tradition for tre-årige: En rituel hårklipning.
Hvilke elementer fra faderens nomadekultur skal en dansk mor vælge for sin datter?
Vi følger mor og datter på familiebesøget i det fjerne Tuva, seks tidszoner fra Danmark.

Benedikte og Jasmins rejse på grænsen mellem to kulturer blev vist på DR2 første gang d. 7. januar 2007, med 5 efterfølgende visninger gennem 2007 og 2008.  Når sjælen sidder i håret har desuden været vist på norsk tv, og på filmfestival i Jokkmokk, Sverige, og er planlagt vist på svensk tv SV1.

Når sjælen sidder i håret er tilrettelagt af Christine Fentz i samarbejde med Benedikte M. Kristensen, og er coproduceret mellem DR2, Turbine Film Aps, og Secret Hotel.

Fotograf: Kirsten Simonsen
Klipper: Yrsa Wedel/Formosa Film
Musik: Yat-Kha (Tuva) og Valravn (DK)

Når sjælen sidder i håret er støttet af Aage & Johanne Louis-Hansens Fond, Danske Filminstruktører, Theatre ARKI, Anna Lise & Aage Dahls Fond.

Three year old Jasmin is having her first hair cut.

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Danish Benedikte has a daughter with Nazyn from Tuva in Siberia. She has chosen to follow the traditions of Nazyn’s shamanistic culture, and therefore Jasmin is now going to visit her dad in Tuva in order to follow the local tradition for three year old children: A ritual hair cut.

As a Danish mum, what elements to choose from the dad’s nomadic culture? We follow mother and daughter on the family visit to far away Tuva, six time zones away from Denmark.

Benedikte and Jasmin’s travel on the border between two cultures premiered on Danish National Television DR2 January 7th 2007, and was followed by five showings during 2007 and 2008. Growing Soul – My Daughter’s Ritual Journey has also been shown on Norwegian Television, and on a filmfestival north of the Polar Circle, in Jokkmokk, Sweden. Showing on Swedish National Television is planned.

Growing Soul – My Daughter’s Ritual Journey is made by Christine Fentz in collaboration with Benedikte M. Kristensen, and coproduced between Danish National Television DR2, Turbine Film Aps, and Secret Hotel.

Photographer: Kirsten Simonsen
Editor:
Yrsa Wedel/Formosa Film
Music:
Yat-Kha (Tuva) og Valravn (DK)

Growing Soul – My Daughter’s Ritual Journey is funded by Aage & Johanne Louis-Hansens Fond, Danish Stage Directors, Theatre ARKI, Anna Lise & Aage Dahls Fond.

Luft fra Det gamle Årtusinde – curriculi

Curriculum Vitae for dåsekunstnerne bosat i Danmark, i alfabetisk oversigt – og på engelsk.

Julie Asmussen Educated from Insitute of Visual Communication at The Danish Design School and from Konstfack in Stockholm, Sweden. Cofounder of the design quartet ”Spild af Tid” (Waste of Time). With these artists she has done illustration and graphics on for instance cooking books, television graphics and net based children computer games. She has taken part in several exhibitions.

Mette-Kirstine Bak Educated 1999 from Department of Illustration, Institute of Visual Communication at The Art and Crafts School in Kolding. Since 1997 freelance iIllustrator of numerous children books, school books, posters, etc. as well as making courses for children. www.mkbak.dk

Søren Behncke / Papfar* Is one of the most important representatives of street art in Denmark. From the starting point of the straight and unpretentious style of street art and the language of graffiti and activism Søren Behncke adds an extra dimension with a universal and symbolic language built on signs from the consumer society and humorous linguistic plays. www.v1gallery.com/artist/show/10

*) Cardboard Dad (usually used for Step Father)

Els Cools Born, raised and educated (Sint- Lucaspaviljoen) in Belgium as an illustrator and graphic designer. Also studied at the Academy in Bratislava, Slovakia, where she met her future husband resulting in her moving to Denmark. She likes to play with and mix realistic elements to create surrealistic and grotesque pictures that illustrate a crooked world. www.elscools.dk

Ole Dalsgaard alias Oscar K Debut 1970 with the poetry collection ‘City, my love’ and has since published numerous novels, plays, children and youth books, amongst these latest the illustraed book IDIOT! (2009) and the new graphic novel: HEISENBERG REVISITED (2010). www.oscar-k.dk

Elevator / Denise Burt and Andreas Rønne Nielsen Denise Burt is a graphic artist and designer based in Copenhagen where she designs for many of Denmark’s national music institutions. She studied at the Elam School of Fine Arts in New Zealand. Andreas Rønne Nielsen is co-founder of the consultancy Wanscher & Nielsen and was educated at the Danish Writers School. www.elevator-design.dk

Saaed Fadavi Educated at the Art and Crafts School in Kolding 1990 and subsequently at the Architect School in Aarhus 1990. Teacher and artistic advisor, and innovator and project leader at “The School of Art” in Aarhus. Furthermore working with sculptures, murals, decorations and paintings on a freelance basis.

Aleksej Iskos Born in 1965 in Kharkov, Ukraine. Studied architecture at Kharkov’s Institute of Civil Engineering and later theory of education at the State Institute of Pedagogic. Moved to Denmark in 1991. Graduated from Institute of Industrial Design at Denmark’s Designskole in 1996. From 1999 to 2010 employed at Komplot Design, Copenhagen. In 1997 initiated the design group Light Stories. Member of SE furniture design association from 1997. In 2001 received 3 years grant from the State Art Council. Various works are included in collections of The Danish Museum of Art & Design, The State Art Council collection and Icelandic Museum of Design. www.aleksej-iskos.dk

Søren Jessen Writer, illustrator, painter. First book published in 1990 and since then he has written 40 more, many of which are illustrated. Two of his novels for adults are illustrated too. March 2010 his new novel for adults “Vildnisset” (The Wilderness) is published. Books: www.soerenjessen.com and paintings: www.jessen.biz

Dorte Karrebæk Educated at Danish School of Arts and Crafts in 1968 (now The Danish Design School), and has since her debut in 1982 illustrated more than 100 children books, in addition to some 30 children books written by herself.

Rune T. Kidde Since 1975 he has written and drawn for more than 100 books in extremely different genres such as novels, poetry, children books, humorous works, cartoons and biographies. He has dramatized adaptations of Tolkien and created the Disgusting Fairy Tales, both for the National Radio, as well as published and taken part in numerous cd publications. www.runetkidde.dk

Line Kramhøft Educated 1997 from Department of Textiles at The Art and Crafts School in Kolding. Lived and studied in Japan, partly at the textile factory Takeda Kahei. She has done various projects and exhibitions, and lately works with both three dimensional textile pictures and with developing poetic and tactile surfaces of concrete. www.taktil.dk

Mette Damsgaard Nielsen Freelance illustrator in LLUSTRA in collaboration with Simon Bodh Nielsen, doing illustrations and graphic design for magazines, books, companies, etc. Educated 1999 from Department of Illustration, Institute of Visual Communication at The Art and Crafts School in Kolding. Also studied at École Supérieure Estienne des Arts et Industries Graphique, Paris. www.llustra.dk

Simon Bodh Nielsen Freelance illustrator in LLUSTRA in collaboration with Mette Damsgaard Nielsen, doing illustrations and graphic design for magazines, books, companies, etc. Educated 2000 from Department of Illustration, Institute of Visual Communication at The Art and Crafts School in Kolding. Also studied at Gerrit Rietveld Academy, Amsterdam. www.llustra.dk

Lars Vegas Nielsen Educated from Visual Communication at The Art and Crafts School in Kolding 1996. Freelance illustrator and news paper cartoonist since 1996 on several newspapers, magazines, etc. Does a weekly satire in the literature section of Danish newspaper Weekend Avisen. Illustrates children books as well. www.larsvegas.dk

Camilla Rasborg Works with installations, collage, graphics, sculpture, photo and drawing. Educated from the Jutland Art Academy in 2002. She has taken part in exhibitions in both Denmark and abroad, and has had separate exhibitions as well. Works with a conceptual approach and comments on our values and our meeting with the surrounding world. www.kunstdk.dk

Randi Schmidt Educated as a graphic designer and illustrator from Designskolen Kolding, 1997. Illustrate, paints and does freelance graphic projects in collaboration with other artists. Works as a graphic designer for the Aarhus Festival since 2000. Co-curator on the Air from the Old Millennium Project. www.randis.dk

Åsa Sonjasdotter Visual artist from Sweden, based in Tromsø, Norway and in Berlin, Germany. She holds an MFA from the Department of Theory and Communication at The Royal Danish Academy of Fine Arts, and has also studied at Trondheim Academy of Fine Art, Norway. She is professor of Contemporary Fine Art at The University College of Tromsø. Her practice focuses on identity, relations, social gathering and ecology. Amongst many exhibitions and projects: Tea Pavilion (3rd Guangzhou Triennal, Guangzhou, China, 2008).

Cato Thau-Jensen Educated 1996 from Department of Graphic and Illustration, and from Institute of Visual Communication at The Art and Crafts School in Kolding. Debut in 1995 illustrating a publication by Kim Fupz Aakeson, and has since then illustrated numerous publications and children books, as well as done outdoor and indoor decorations.

Jørn Villumsen Educated as a lithographer in 1979, (and) educated at The Danish Design School in 1985 (then The School of Decorative Art). Freelance cartoonist since 1985 on various newspapers, magazines and books. Working on one of Denmark’s biggest newspapers Politiken since 1990. Has illustrated numerous children books, posters and has designed figures for animation movies, etc.

Jens Blendstrup Danish writer and dramatist and sometimes also poet. Part of the FRODEGRUPPEN40, a Danish Hammond organ dance band, and author of numerous plays, novels and short stories. www.jensblendstrup.dk

Thomas Boysen Anker Trained as a philosopher at University of Copenhagen. Currently doing a PhD, partly in Scotland, identifying and discussing the social impact of commercial branding and marketing. At the heart of his philosophical interest lies the concept of political and individual autonomy or freedom.

Curriculi for all can artists based in Denmark,  alphabetically sorted: (writer Blendstrup and philosopher Boysen Anker at the bottom)

Julie Asmussen Educated from Insitute of Visual Communication at The Danish Design School and from Konstfack in Stockholm, Sweden. Cofounder of the design quartet ”Spild af Tid” (Waste of Time). With these artists she has done illustration and graphics on for instance cooking books, television graphics and net based children computer games. She has taken part in several exhibitions.

Mette-Kirstine Bak Educated 1999 from Department of Illustration, Institute of Visual Communication at The Art and Crafts School in Kolding. Since 1997 freelance iIllustrator of numerous children books, school books, posters, etc. as well as making courses for children. www.mkbak.dk

Søren Behncke / Papfar* Is one of the most important representatives of street art in Denmark. From the starting point of the straight and unpretentious style of street art and the language of graffiti and activism Søren Behncke adds an extra dimension with a universal and symbolic language built on signs from the consumer society and humorous linguistic plays. www.v1gallery.com/artist/show/10

*) Cardboard Dad (usually used for Step Father)

Els Cools Born, raised and educated (Sint- Lucaspaviljoen) in Belgium as an illustrator and graphic designer. Also studied at the Academy in Bratislava, Slovakia, where she met her future husband resulting in her moving to Denmark. She likes to play with and mix realistic elements to create surrealistic and grotesque pictures that illustrate a crooked world. www.elscools.dk

Ole Dalsgaard alias Oscar K Debut 1970 with the poetry collection ‘City, my love’ and has since published numerous novels, plays, children and youth books, amongst these latest the illustraed book IDIOT! (2009) and the new graphic novel: HEISENBERG REVISITED (2010). www.oscar-k.dk

Elevator / Denise Burt and Andreas Rønne Nielsen Denise Burt is a graphic artist and designer based in Copenhagen where she designs for many of Denmark’s national music institutions. She studied at the Elam School of Fine Arts in New Zealand. Andreas Rønne Nielsen is co-founder of the consultancy Wanscher & Nielsen and was educated at the Danish Writers School. www.elevator-design.dk

Saaed Fadavi Educated at the Art and Crafts School in Kolding 1990 and subsequently at the Architect School in Aarhus 1990. Teacher and artistic advisor, and innovator and project leader at “The School of Art” in Aarhus. Furthermore working with sculptures, murals, decorations and paintings on a freelance basis.

Aleksej Iskos Born in 1965 in Kharkov, Ukraine. Studied architecture at Kharkov’s Institute of Civil Engineering and later theory of education at the State Institute of Pedagogic. Moved to Denmark in 1991. Graduated from Institute of Industrial Design at Denmark’s Designskole in 1996. From 1999 to 2010 employed at Komplot Design, Copenhagen. In 1997 initiated the design group Light Stories. Member of SE furniture design association from 1997. In 2001 received 3 years grant from the State Art Council. Various works are included in collections of The Danish Museum of Art & Design, The State Art Council collection and Icelandic Museum of Design. www.aleksej-iskos.dk

Søren Jessen Writer, illustrator, painter. First book published in 1990 and since then he has written 40 more, many of which are illustrated. Two of his novels for adults are illustrated too. March 2010 his new novel for adults “Vildnisset” (The Wilderness) is published. Books: www.soerenjessen.com and paintings: www.jessen.biz

Dorte Karrebæk Educated at Danish School of Arts and Crafts in 1968 (now The Danish Design School), and has since her debut in 1982 illustrated more than 100 children books, in addition to some 30 children books written by herself.

Rune T. Kidde Since 1975 he has written and drawn for more than 100 books in extremely different genres such as novels, poetry, children books, humorous works, cartoons and biographies. He has dramatized adaptations of Tolkien and created the Disgusting Fairy Tales, both for the National Radio, as well as published and taken part in numerous cd publications. www.runetkidde.dk

Line Kramhøft Educated 1997 from Department of Textiles at The Art and Crafts School in Kolding. Lived and studied in Japan, partly at the textile factory Takeda Kahei. She has done various projects and exhibitions, and lately works with both three dimensional textile pictures and with developing poetic and tactile surfaces of concrete. www.taktil.dk

Mette Damsgaard Nielsen Freelance illustrator in LLUSTRA in collaboration with Simon Bodh Nielsen, doing illustrations and graphic design for magazines, books, companies, etc. Educated 1999 from Department of Illustration, Institute of Visual Communication at The Art and Crafts School in Kolding. Also studied at École Supérieure Estienne des Arts et Industries Graphique, Paris. www.llustra.dk

Simon Bodh Nielsen Freelance illustrator in LLUSTRA in collaboration with Mette Damsgaard Nielsen, doing illustrations and graphic design for magazines, books, companies, etc. Educated 2000 from Department of Illustration, Institute of Visual Communication at The Art and Crafts School in Kolding. Also studied at Gerrit Rietveld Academy, Amsterdam. www.llustra.dk

Lars Vegas Nielsen Educated from Visual Communication at The Art and Crafts School in Kolding 1996. Freelance illustrator and news paper cartoonist since 1996 on several newspapers, magazines, etc. Does a weekly satire in the literature section of Danish newspaper Weekend Avisen. Illustrates children books as well. www.larsvegas.dk

Camilla Rasborg Works with installations, collage, graphics, sculpture, photo and drawing. Educated from the Jutland Art Academy in 2002. She has taken part in exhibitions in both Denmark and abroad, and has had separate exhibitions as well. Works with a conceptual approach and comments on our values and our meeting with the surrounding world. www.kunstdk.dk

Randi Schmidt Educated as a graphic designer and illustrator from Designskolen Kolding, 1997. Illustrate, paints and does freelance graphic projects in collaboration with other artists. Works as a graphic designer for the Aarhus Festival since 2000. Co-curator on the Air from the Old Millennium Project. www.randis.dk

Åsa Sonjasdotter Visual artist from Sweden, based in Tromsø, Norway and in Berlin, Germany. She holds an MFA from the Department of Theory and Communication at The Royal Danish Academy of Fine Arts, and has also studied at Trondheim Academy of Fine Art, Norway. She is professor of Contemporary Fine Art at The University College of Tromsø. Her practice focuses on identity, relations, social gathering and ecology. Amongst many exhibitions and projects: Tea Pavilion (3rd Guangzhou Triennal, Guangzhou, China, 2008).

Cato Thau-Jensen Educated 1996 from Department of Graphic and Illustration, and from Institute of Visual Communication at The Art and Crafts School in Kolding. Debut in 1995 illustrating a publication by Kim Fupz Aakeson, and has since then illustrated numerous publications and children books, as well as done outdoor and indoor decorations.

Jørn Villumsen Educated as a lithographer in 1979, (and) educated at The Danish Design School in 1985 (then The School of Decorative Art). Freelance cartoonist since 1985 on various newspapers, magazines and books. Working on one of Denmark’s biggest newspapers Politiken since 1990. Has illustrated numerous children books, posters and has designed figures for animation movies, etc.

Thomas Boysen Anker Trained as a philosopher at University of Copenhagen. Currently doing a PhD, partly in Scotland, identifying and discussing the social impact of commercial branding and marketing. At the heart of his philosophical interest lies the concept of political and individual autonomy or freedom.

Jens Blendstrup Danish writer and dramatist and sometimes also poet. Part of the FRODEGRUPPEN40, a Danish Hammond organ dance band, and author of numerous plays, novels and short stories. www.jensblendstrup.dk

Den gyldne Maritime – sang & lavmælt vrissen til søs (2003)

Musikforestillingen Den gyldne Maritime – sang & lavmælt vrissen til søs var en galgenhumoristisk sejlads rundt om død og kærlighed instrueret af Christine Fentz. Tobias Triers salonjazz og troubadour-rockabilly mødtes med forfatter Jens Blendstrups bidske tekster på en noget anderledes bar, der sejlede verdenshavene tynde.

Den gyldne Maritime havde premiere i april 2003 på Entré Scenen, Århus og spillede derefter i Kanonhallen, København under festivalen Junge Hunde.

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Fotogalleri

 

Continue reading “Den gyldne Maritime – sang & lavmælt vrissen til søs (2003)”

Kunstnere og produktion: Koncept og dialog: Fentz, Trier, Blendstrup og Bennike Iscenesættelse: Christine Fentz Musik og sangtekster: Tobias Trier Tekster: Jens Blendstrup Scenografi: Sigrid Bennike Lysdesign:Morten Ladefoged

Medvirkende: Udover Tobias Trier og Jens Blenstrup medvirkede Klavs Hovman – kontrabas, Bent Clausen – trommesæt og vibrafon og Karen Gammelgaard.

Den gyldne Maritime blev produceret af Secret Hotel i co-produktion med Entré Scenen, Kulturhus Århus/ ArtsResource og Produktionskartellet.

Den gyldne Maritime var støttet af Århus Kommunes Kulturudviklingspulje, Aage og Johanne Louis-Hansens Fond, Entré Scenen, Bornholms Kulturuge, KODA, Statens Kunstfond, Kulturhus Århus, Århus Amt, Tuborgfondet og Dansk Musikerforbund.

Koreografi og dramaturgi – workshop

Koreografi og Dramaturgi Workshop

Fredag 29.nov.-Søndag 1.dec 2002 arrangerede Secret Hotel i samarbejde med en række institutioner – Danseværket, Århus og Institut for Dramaturgi v. Aarhus Universitet, Foreningen af Danske Dramaturger og Skolen for Moderne Dans, København – en koreografiworkshop ledet af den belgiske dramaturg Hildegaard de Vuyst. Hun arbejder som dramaturg for bl.a. Alan Platel og koreografer fra Les Ballets C de la B. Workshoppen var henvendt til danske koreografer med henblik på at sætte fokus på dramaturgisk bevidsthed og arbejdsredskaber i den koreografiske skabelsesproces. Det større perspektiv bag workshoppen var at inspirere til en øget bevidsthed om strukturer i koreografisk materiale og til artikulation af motivationer og valg i det koreografiske arbejde. Målet var også at introducere koreograferne til dramaturgen som en fortrolig sparringspartner i arbejdsprocessen. 4 koreografer og deres dansere arbejdede i 3 dage med de Vuyst på at stimulere deres arbejdsmetoder og diskutere hvorledes kommunikationen mellem scene og publikum kan styrkes gennem de dramaturgiske valg, der tages. Søndagen var en åben arbejdsdemonstration for et inviteret publikum på Gran – Teater for Dans, Århus.

Deltagende koreografer: Sara Gebran, Kamilla Wargo Brekling, Anette Wiessner, Cristina Moura

Dansere & perfomere: Eve Garnier, Kristoffer Krarup, Lars Dahl Pedersen, Radek Hewlett, Lali Ayguarde og Cristina Moura

Observatører: Eva Damholt, Christine Fentz, Ida Jørgensen, Synne Behrndt

Produktion: Christine Fentz, Nanna Rohweder, Charlotte Mors


Choreography / Dramaturgy Workshop

During the weekend Friday 29th November to Sunday 1’st December, 2002 Secret Hotel in collaboration with a number of organisations – Dansevaerket, Aarhus, Institute for Dramaturgy (University of Aarhus), Danish Dramaturg Society, and School for Contemporary Dance in Copenhagen – organised a Choreography/Dramaturgy workshop led by Belgian dramaturg Hildegaard de Vuyst, who has previously worked with Alan Platel, Wim Vandekeybus and various choreographers from Les Ballet C de la C. The workshop was offered to Danish choreographers who were interested in exploring possible dramaturgical strategies and questions in their own processes and work. The workshop’s objective was to introduce the choreographers to dramaturgical vocabularies in looking at structures and how to be precise in articulating intentions and motivation in the decision making process. The objective was also to introduce the choreographers to the dramaturg as a creative collaborator and ‘confidant’ in the process and work. For three days, four choreographers and their dancers worked with Hildegard de Vuyst on selected material in order to generate new questions about their working methods and to discuss how communication between the stage and the audience could be enhanced through clearer dramaturgical decisions. The Sunday session, which took place at Gran – Theatre for Dance, was presented in front of an invited audience.

Choreographers: Sara Gebran, Kamilla Wargo Brekling, Anette Wiessner, Cristina Moura

Dancers & perfomers: Eve Garnier, Kristoffer Krarup, Lars Dahl Pedersen, Radek Hewlett, Cristina Moura, Lali Ayguarde

Observers: Eva Damholt, Christine Fentz, Ida Jørgensen, Synne Behrndt

Production: Christine Fentz, Nanna Rohweder, Charlotte Mors

Deutsches Liederabend – Hausbesuche/House Call (2002)

Haubesuche var et værtsprojekt under Artgenda, hvor alle deltagende kunstnere skulle lave en event i et privat hjem i løbet af deres ophold i Hamburg. De private husværter var mere eller mindre forberedte på hvad der skulle foregå; deres eventuelt inviterede venner derimod sjældent! Man kunne bidrage med alt, lige fra at vise foto- eller videodokumentation fra tidligere arbejde til at inddrage de tilstedeværende gæster, skræddersy en event til en lejlighed med balkon og lignende.

Efter idé fra performer Burkhard Forstreuter skabtes Deutsches Liederabend, hvor de i første omgang måbende værter og gæster blev bedt om at synge med på diverse kendte tyske lieder og børnesange. Vi ankom i stiveste puds og opsatte videoprojektion og en “elektrisk lejr-ild” at samles om ved sofabordet. Efter nogle timer med heftig torden udenfor og sang, varmere stemmer og fortæring af dårlige chokolader indendørs afsluttede vi aftenen med en diskussion af nationalfølelse og det at synge sange. Se beskrivelse af aftenen nedenfor.

Kunstnere og produktion:
Idé og medvirkende: Burkhardt Forstreuter og Christine Fentz
Solosang og fløjte:
Christine Fentz
Fællessang:
De medvirkende gæster

Opskrift for Deutsches Lieder Abend

All artists in ArtGenda had to devise a Hausbesuche/Housecalls, a ‘private event’ in a private home. The host project’s intention was to bring art into people’s private houses and where the hosts were more or less prepared and had some inkling about the nature of the event, the friends they invited over for the evening would not know what was in store! The event could literally be anything, from installation, exhibition, to documentation, performance, recycling moments from previous events during the week, etc.

On the idea of performer Burkhard Forstreuter, the event became a Deutsches Lieder AbendGerman Song Evening, where the surprised and intrigued hosts and their guests were asked to engage in a sing-a-long with Burkhard and Christine. The songs they were asked to sing were well known German folk songs and children songs. Dressed up in formal eveningwear Burkhard and Christine gathered the ‘audience’ around the video projector and an artificial camp fire. After hours of singing accompanied by the sound of heavy thunder outside, consumption of cheap chocolate and spurred on by the theme of singing, the evening came to a close with a debate about national pride and identity.

Idea and performers: Burkhardt Forstreuter og Christine Fentz
Solo singing and flute: Christine Fentz
Sing along: The participating guests

Recipe for German Song Evening

Vorlesung über Stau / Lecture on Traffic Jam (2002)

Et bidrag til værtsprojektet Instant Art, hvor man bl.a. kunne bestille et kunstværk eller en kunstevent i sit eget hjem á la pizzaservice og hvor der på samme dag også var andre events på trafikøer på en indre ringvej i Hamburg.

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Fotogalleri videolink

A live event devised for the project Instant Art. Here members of the public could in true pizza-delivery style ‘order’ or ‘book’ a piece of art or a live event for their homes. As part of this event a number of ‘road roundabout’ events were staged along the same busy road in the centre of Hamburg.

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Photo gallery videolink

Continue reading “Vorlesung über Stau / Lecture on Traffic Jam (2002)”

Fra en trafikkø i myldretiden i 34 graders varme spurgte vi chaufførerne ved det røde lys, hvor de hellere ville være lige nu – i New York eller på stranden? “Wo würdest Sie am liebsten sein?” Et polaroidfoto blev derpå taget af chaufføren inde i bilen på en baggrund af enten en strand eller New York (chaufføren skulle selv holde dette motiv). Dernæst fik vedkommende det endnu ikke færdigfremkaldte foto, som viser chaufføren på f.eks. stranden, men samtidigt siddende i sin bil.

Før han/hun kørte videre fik vedkommende også en plasticpose med vand og en lille lamineret tekst – se fotos – der funderede over trafikproppers mærkelige og magiske natur og en forklaring på hvordan videnskabsfolk sammenligner trafik med vand. Sådan kunne de selv lære både at forstå og bedre nyde trafikpropper i stedet for at blive utålmodige og irritable.

Chaufførerne tog taknemmeligt imod den kølige pose med vand og kørte videre med store smil efter en anderledes traffikoplevelse. I løbet af eventen gav en af performerne en forelæsning om modernitet, trafik og bevægelse, mens en anden performer udførte trafik-inspireret tai-chi.

Samarbejdspartnere: Burkhard Forstreuter og Andreas Leo Findeisen. Fotos: Ulli Gehner, Christine Fentz


Trace of… (2002)

en ruminstallation i et fugtigt og uindbydende kælderrum.

Udgangspunktet var at skabe en teater/performance scenografi uden hverken performere eller deciderede fysiske handlinger, men i stedet skabe et rum, der påvirkede de besøgendes sanser. Dette inspirerede os til idéen om ‘et mystisk og forladt rum fyldt med sære spor’…men med spor af hvad? Vi lod publikum/de besøgende skabe deres egen mening.

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På trods af det uindbydende ved rummet, havde det mange potentialer og ventende på at blive brugt. Vi ønskede at skabe et sted, der var både forrådskammer for mad og samtidig indeholdt både spor fra eventyrhandlinger og spor fra den egentlige arbejdsproces. Vi var interesserede i fornemmelsen af, at rummet var blevet pludseligt forladt, en slags afbrudt handling, in medias res.

Vi skabte et rum med efterladt redskabskasse og arbejdsstige, gamle kaffekopper, slagterkroge, jagtgenstande, æbler, hår, foto af træer og isblokke, der smeltede, mens dagen og aftenen gik på hæld. De hængende løg og æblerne spiddet på væggen skabte en karakteristisk lugt. Linserne på gulvet knustes med små lyde, når de besøgende gik rundt i rummet. Tilsat et lettere teatralt grønt spotlys, forvandledes rummet til en slags underhavs-rum, fugtigt, vådt og lidt mudret. Et loopet soundscape gav et ekstra lag til de forskellige handlinger i rummet.

an installation created for a room in a damp uninviting basement.

Our intial idea was to create a theatrical scenography, a kind of theatrical space devoid performers or actions. We wanted to create a room that would have a physical and visceral impact on people upon entering. This inspired the idea of a ‘mysterious and abandoned room charged with ambiguous and strange traces’… but traces of what? We wanted to let the audience/viewers make their own connections.

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Though uninviting, the room had great potential in all its abandonment. Acting upon the premise that the room was partly a storeroom and partly a pragmatic building site, we started working with the idea of traces or images taken from well known fairy tales. Interested in the idea of ‘uninterrupted actions’, actions having been abandoned in medias res, we ‘composed’ a room with abandoned tool box and ladder, old coffee cups, butcher’s hooks, hunting tools, apples sliced in halves pinned to the wall, photographs of trees suspended on a wire. Blocks of ice were suspended in hooks from the ceiling creating a damp effect and a feel as the ice was slowly melting.

A peculiar smell was generated from spring onions suspended from the ceiling in leather hooks, the apples sliced in halves and the wet lentils on the floor. Combined with the slightly theatrical illusion of a green spotlight, the room became like an underwater environment, damp, wet and slightly murky. The sound of the crackling lentils under the feet of the visitors and a looped soundscape added to the narratives of the installation.

The recipe for our House Call (2002)

RECIPE for HOUSE CALL á la DEUTSCHES LIEDER ABEND by Burkhard Forstreuter & Christine Fentz

Have at hand:
One flat and it’s inmates
Their friends, not knowing that they’re invited for something special
A heavy downpour of rain, close to being a thunderstorm
One old car with driver
Two artists – one Danish, one German, but living in Denmark, both dressed up (fine evening dress & suit)
A pile of photocopied German songs – children’s songs, different German popular songs
A ‘Lagerfeuer’ – an artificial small fire in a plastic container, created by cloth, light and air
One piece of video art Video beamer, camera, etc.
A Norwegian traditional longflute
A box of low qualities chocolates
If possible a photographer for documentation

RECIPE for HOUSE CALL á la DEUTSCHES LIEDER ABEND by Burkhard Forstreuter & Christine Fentz

Have at hand:

One flat and it’s inmates
Their friends, not knowing that they’re invited for something special
A heavy downpour of rain, close to being a thunderstorm
One old car with driver
Two artists – one Danish, one German, but living in Denmark, both dressed up (fine evening dress & suit)
A pile of photocopied German songs – children’s songs, different German popular songs
A ‘Lagerfeuer’ – an artificial small fire in a plastic container, created by cloth, light and air
One piece of video art
Video beamer, camera, etc.
A Norwegian traditional longflute
A box of low qualities chocolates
If possible a photographer for documentation

Do the following: Arrive, greet everyone in a very formal way and ignore the astonishment of the surprised guests.

Look around, decide which room to use as well as the use of the adjoining rooms, then ask everyone to leave the chosen room while preparing; set up the video and the lagerfeuer/artificial fire.

Press play for the video art to be projected in a distorted way upon the wall and ask everyone to come into the living room again and introduce them to the Deutsches Lieder Abend that they’re about to be part of.

Let the German artist, who miss his country, who analyse his country clearer from a distance and who got this brilliant idea, tell about the disappearing German song tradition. Smile during this.

Distribute the song compilations, comment on the information given by the fellow artist and begin to sing together with the guests, who will most possibly fall faltering into singing, and who out of astonishment do not find time to question anything. Register how you could have started singing almost anything before they would think about protesting; maybe even an old forgotten song from the war.

During the course of the following songs, leave the room discretely once in a while and in the hallway pick up the long flute and play a bit. Notice the absurd sensation of nothing happening; the singing continuing, as well as on your return no one in the room reacting. This is probably because the fellow artist followed the plan and didn’t comment on the flute, but just ignored it and continued singing.

When needed rewind the video tape.

As the action of absent singing is repeated, notice your own frustration – despite the whole thing being planned like this – of being almost invisible and non-audible despite various singing and playing in the hall way right outside the living room. The German singing falters and sometimes almost comes to a stop, but is then started again. Upon returning into the room a strange sensation of unease is felt; you feel invisible, and they feel insecure as to whether they should react on what just happened.

When some singing has been done, as well as mutual laughing over the well-known songs from the German childhood, give a duet together of Junge, komm zu Haus and a solo of Seemann, lass dass Träumen and later, offer the box of low quality chocolates.

When the evening comes to it’s end, announce this together with the fellow artist and gather the singing compendiums from the few guests who do not wish to keep it for future singing. Press stop on the video, and announce that you can now talk a bit about the experience. Accept that the following talk is documented on video and pack the technical gear while people are getting ready.

The discussion will probably touch upon subjects such as – Forcing the singing tradition upon the youngsters of Germany in a hidden or open way – Why singing is good for the soul, as it touches the emotions and let us be in contact with ourselves – The question of keeping a tradition alive because it is a tradition or because it is alive by itself – How singing became a sign of power during the 30’ties and 40’ties Germany – Whether to update children’s songs with techno rythms or teach them in simple, traditional manner – Gratitude for the experience, the touching of the souls of the guests and the memories of childhood brought forth – The unease of not knowing the rules of the game when the playing and singing was done in the hall way, but meanwhile ignored or not commented in the living room. The unease of not being able to acknowledge the enjoyment and mere existence of the action and presence next door. – How nice the exchange became during the evening, as the singing guest themselves remembered and suggested songs to sing.

Note how this topic brings forth a multitude of associations, amongst others how human kind very quickly can set up rules that makes some kind of people visible & accepted and others invisible & not-wanted. What the others, the majority do become the rule…

When the discussion seems to wear out because of the night growing old, break up, do your inclinations, accept the thanks from all guests and leave hastily.

Recipe by Christine Fentz, 12th of September 2002

Continue reading “The recipe for our House Call (2002)”

Do the following: Arrive, greet everyone in a very formal way and ignore the astonishment of the surprised guests.

Look around, decide which room to use as well as the use of the adjoining rooms, then ask everyone to leave the chosen room while preparing; set up the video and the lagerfeuer/artificial fire.

Press play for the video art to be projected in a distorted way upon the wall and ask everyone to come into the living room again and introduce them to the Deutsches Lieder Abend that they’re about to be part of.

Let the German artist, who miss his country, who analyse his country clearer from a distance and who got this brilliant idea, tell about the disappearing German song tradition. Smile during this.

Distribute the song compilations, comment on the information given by the fellow artist and begin to sing together with the guests, who will most possibly fall faltering into singing, and who out of astonishment do not find time to question anything. Register how you could have started singing almost anything before they would think about protesting; maybe even an old forgotten song from the war.

During the course of the following songs, leave the room discretely once in a while and in the hallway pick up the long flute and play a bit. Notice the absurd sensation of nothing happening; the singing continuing, as well as on your return no one in the room reacting. This is probably because the fellow artist followed the plan and didn’t comment on the flute, but just ignored it and continued singing.

When needed rewind the video tape.

As the action of absent singing is repeated, notice your own frustration – despite the whole thing being planned like this – of being almost invisible and non-audible despite various singing and playing in the hall way right outside the living room. The German singing falters and sometimes almost comes to a stop, but is then started again. Upon returning into the room a strange sensation of unease is felt; you feel invisible, and they feel insecure as to whether they should react on what just happened.

When some singing has been done, as well as mutual laughing over the well-known songs from the German childhood, give a duet together of Junge, komm zu Haus and a solo of Seemann, lass dass Träumen and later, offer the box of low quality chocolates.

When the evening comes to it’s end, announce this together with the fellow artist and gather the singing compendiums from the few guests who do not wish to keep it for future singing. Press stop on the video, and announce that you can now talk a bit about the experience. Accept that the following talk is documented on video and pack the technical gear while people are getting ready.

The discussion will probably touch upon subjects such as – Forcing the singing tradition upon the youngsters of Germany in a hidden or open way – Why singing is good for the soul, as it touches the emotions and let us be in contact with ourselves – The question of keeping a tradition alive because it is a tradition or because it is alive by itself – How singing became a sign of power during the 30’ties and 40’ties Germany – Whether to update children’s songs with techno rythms or teach them in simple, traditional manner – Gratitude for the experience, the touching of the souls of the guests and the memories of childhood brought forth – The unease of not knowing the rules of the game when the playing and singing was done in the hall way, but meanwhile ignored or not commented in the living room. The unease of not being able to acknowledge the enjoyment and mere existence of the action and presence next door. – How nice the exchange became during the evening, as the singing guest themselves remembered and suggested songs to sing.

Note how this topic brings forth a multitude of associations, amongst others how human kind very quickly can set up rules that makes some kind of people visible & accepted and others invisible & not-wanted. What the others, the majority do become the rule…

When the discussion seems to wear out because of the night growing old, break up, do your inclinations, accept the thanks from all guests and leave hastily.

Recipe by Christine Fentz, 12th of September 2002

Hall of Fame – hotelmodel for Secret Hotel (2002)

Hall of Fame var et storstilet præsentationsprojekt, hvor alle deltagende Artgenda-kunstnere kunne fremvise tidligere arbejder, dokumentation eller lign.

Med udgangspunkt i både vores arbejde og vores navn Secret Hotel valgte vi at lave en model af en hotelgang, hvor hvert “hotelværelse” repræsenterede et projekt vi havde stået bag i tidsrummet 1999-2002. Secret Hotels arbejde er kendetegnet ved mange forskelligartede kunstneriske udtryk og kunstnere – “hotelværelser”. Det gav derfor kun mening at præsentere nogle af de forskellige “rum” vores arbejde udgøres af. I forlængelse af tidligere arbejder måtte folk være aktive sammen med modellen og åbne de forskellige døre, for der at se foto- og lydinstallationer i miniputformat, der præsenterede forskellige projekter.

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Modellen udviklet og lavet af Christine Fentz og scenograf Sigrid Bennike
Fotos:
Ulli Gehner og Christine Fentz

Hall of Fame was an ambitious project which aimed at presenting the differentArtgenda-artists, including a show case for their previous projects and works.

Inspired by our previous projects and our name, Secret Hotel, we chose to construct a 3D installation of a hotel lobby, where each ‘hotel room’ represented our various projects between 1999-2000. This 3D installation was devised from the idea that Secret Hotel in true ‘hotel spirit’ hosts a very varied bouquet of expressions, and artists. An ongoing obsession is the idea that audiences take part in the construction of meaning in the pieces of work. We therefore chose to manifest this in the 3D installation by asking the audiences to literally open the small doors of the installation whereby both sound and lights would appear.

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The 3D installation was developed and built by Christine Fentz and scenographer Sigrid Bennike.
Photos: Ulli Gehner & Christine Fentz

Growing Home – video installation (2002)

Et billedværk om erindring, retracing. En fri abstraktion over det at genfinde ting, billeder, ord, fakta og følelser i sin erindring. En 17 minutters videoinstallation lavet til værtsprojektet Trust Your Local Artist.

Growing Home havde tre forskellige minifilm kørende på samme tid i de forskellige vinduesfelter – se fotos her på siden: Nattekørsel ad små snoede landeveje optaget fra passagersædet af en bil. En skægget mand, der med svingende held forsøge at huske og recitere lange kvad fra Den ældre Edda på et længe glemt sprog: Oldnordisk. Og et lille felt med næroptagelser af sol, grene, vanddråber og vinduesviskere og lignende fra en anden biltur. Bilens fremadskridende kørsel var valgt som en kontrast til projektionen indefra på ydersiden af husfacaden – resultatet blev en fornemmelse af at man med bilen kørte ind i bygningens dybde.

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Video installation about memory and retracing & discovery of forgotten moments in one’s life. A video installation lasting 17 minutes produced for the project ‘Trust Your Local Artist’.

Growing Home consisted of three different films running simultaneously in three different windows (see photos on this page). The narrative as follows: Driving at night down small winding roads. In the long forgotten language Old Norse, a bearded man attempts to remember and recite long verses from “The Elder Edda”.

The video shows the viewers/audience close-ups of the sun, branches, water drops and windscreens from another car drive. Juxtaposing the moving car with the first projection can give the viewer a feeling of entering the building seated in the car.

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Continue reading “Growing Home – video installation (2002)”

Folkene bag dette projekt arbejdede med at projicere video på indersiden af papirdækkede vinduer, så en del af husfacaden bliver til en udendørs videoskærm. Til Artgenda brugte de 18 forskellige vinduer på Hein Köllisch Platz i Hamburg – både butiksvinduer og private vinduer i forskellige etager – og her vistes de 18 kunstneres videoinstallationer i loop i tidsrummet 22-02. Siden er Growing Home blevet vist under Kulturnatten i Århus 2002 og under udstillingen Ideal, Viborg 2003.

Kunstnere og produktion: Digte reciteret af Ole Nielsby
Idé og kamera:
Christine Fentz
Redigeringsteknik og grafik:
Tommy Sørensen og Tony Christiansen
Produceret på Århus Filmværksted
Fotos: Christine Fentz


The Drowning Room – Missing Mississippi (2001)

Co-produktion med Misha Myers i samarbejde med Entré Scenen, Århus. Vist som en del af Festivalen DanseDage 01 af Kulturhus Århus.

Danseteaterforestilling af og med den amerikanske koreograf og danser Misha Myers. I et mix af dans og tekst møder Anton Tjekhovs tre søstre amerikansk sydstats-mytologi i en tragikomisk fortælling om rodløshed, hjemve, identitet og overlevelse under vanskelige forhold.

The Drowning Room – Missing Mississippi bladrer med løs hånd gennem anekdoter, country og blues, forfalskede beviser, dramatiske værker, familiealbum og lidt hjemmevideo, mens vi spekulerer på, hvordan livet ville have set ud, hvis vi havde taget andre valg.

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Koreograf og performer: Misha Myers
Dramaturgisk konsulent:
Synne Behrndt
Produktion og presse: Christine Fentz

Støttet af Dansepuljen ved Danseværket, Århus Kommunes Garantipulje og Dartington College of Arts.

In collaboration with Misha Myers and Entré Scenen, Aarhus.
Shown as part of the Festival DanseDage 01, by Cultural House Aarhus.

Dance theatre by American choreograph and dancer Misha Myers.

Anton Tjekhov’s 3 sisters meet American Southern mythology in a tragicomic story about homesickness, identity and survival under adverse conditions.

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Choreographer and performer: Misha Myers
Dramaturgical consultant: Synne Behrndt
Production and press: Christine Fentz

Funded by: The Dance Fund Aarhus by Danseværket, and the County of Aarhus.

Tourist of the Heart (2001)

Som en del af Århus Festuges byvandring Hidden Treasures Map skabte Secret Hotel en 15 minutters forestilling i en hotel suite på en af byens ældste hoteller, Hotel Royal. Den engelske instruktør og performer Melanie Thompson var inviteret til, sammen med Secret Hotel, at skabe en stedsspecifik forestilling med udgangspunkt i tematikkerne ‘rejse’ og ‘afsked’.

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Fotogalleri

Instruktør og performer: Melanie Thompson Assistent & samarbejde: Peter Sloth Madsen Dramaturger & produktion: Christine Fentz & Synne Behrndt Øvrige medvirkende og tak til: Jacob Knudsen, Marlene Ballebye, personalet på Hotel Royal, Århus Produceret i samarbejde med: Århus Festuge og Hotel Royal, Århus

Secret Hotel was commissioned by The Aarhus Festival to devise a 15 minute site specific performance as part of the Festival’s promenade event Hidden Treasures Map.

The site was a room in one of the city’s oldest and most renowned hotels, Hotel Royal. The performance was devised in collaboration with English artist and director Melanie Thompson.

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Photo gallery

Director & performer: Melanie Thompson Assistant & collaborator: Peter Sloth Madsen Dramaturgs & production: Christine Fentz & Synne Behrndt Performers and thank you: Jacob Knudsen, Marlene Ballebye and the staff at Hotel Royal. Produced in collaboration with Hidden Treasures Map/The Aarhus Festuge & Hotel Royal, Århus.

Continue reading “Tourist of the Heart (2001)”

Tematikken voksede ud af Melanie’s eget forhold til byen Århus: Efter i størstedelen af 1980’erne at have boet fast i Århus vendte Melanie med meget blandede følelser tilbage til byen efter 15 års adskillelse. Denne tilbagevenden blev udgangspunktet for den endelige forestilling Tourist of the Heart, som blev en solo etude over det at være rejsende i ens egne minder, om forhold til steder, om forgange kærlighedsaffærer til mennesker og byer, længsel efter fortid og hvorledes geografiske steder er med til at skabe vor personlige identitet. Forestillingen blev skabt udfra et site specific princip, hvor stedet ikke er en kulisse, men en tematik i sig selv. Melanie boede og arbejdede i godt 6 dage i hotelsuiten, hvor den endelige forestillingen blev vist.

Forestillingsnoter: · et stort hotelværelse (denne gang er jeg gæst) · video med lav lyd · en kvinde gennemblødt til skindet · kort over byen OVERALT · forvirring mellem en affære og byen selv · dans i et beboet rum · publikum som rejsende/turister · lysbilleder af steder hvor jeg har boet · ET MIDLERTIDIGT HJEM – at rejse

Based on Melanie’s own past and relationship with Aarhus, the work on the performance revolved around themes like ‘travelling and goodbyes’. For the most part of the 1980s Melanie lived and worked in Aarhus and in making this performance she returned for the first time in 15 years only to find that her feelings about revisiting the city were indeed mixed and complex. The final performance thus became a solo piece about travelling through memories, love affairs with people and places and about how geographic places shape our personal identity. The performance was devised site specifically where the hotel room became a theme in its own right. Melanie lived and worked in the hotel suite for more than 6 days prior to the performance.

Performance notes: · a big hotel room (this time I’m a guest) · video with sound turned down · a woman soaked · maps of the city – everywhere · confusion between affair and the city itself · dance in domestic environment · the audience as travellers/tourists · slides of places where I’ve lived · a temporary home – travelling

1 Aften – 2 Duetter (2001)

Gæstespil arrangeret i samarbejde med Entré Scenen og kunstnerne, produceret af Secret Hotel. Vi præsenterede de to danske lovende koreografer Ari Rosenzweig og Anders Schlanbusch med hver en duet.

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Eager Beaver B af Ari Rosenzweig
Dansere: Ari Rosenzweig og Nir Tamir.

Gisteren is Anders af Anders Schlanbusch
Dansere:
Anders Schlanbusch og Pavel Zustiak.
Lyd:
Frank Gustafson

Produktion og presse: Christine Fentz
Støttet af Dansepuljen ved Danseværket og Århus Kommunes Garantipulje.

Dance Event with the two Danish upcoming choreographers Ari Rosenzweig og Anders Schlanbusch. Organised in collaboration with Entré Scenen and the choreographers, produced by Secret Hotel.

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Eager Beaver B by Ari Rosenzweig Dancers: Ari Rosenzweig and Nir Tamir.

Gisteren is Anders by Anders Schlanbusch Dancers: Anders Schlanbusch and Pavel Zustiak. Sound: Frank Gustafson.

Production & press: Christine Fentz Funded by The Dance Fund Aarhus by Danseværket and the County of Aarhus.

Via Amsterdam (2000)

Gæstespil arrangeret i samarbejde med Entré Scenen og koreograferne, produceret af Secret Hotel. Under titlen Via Amsterdam præsenterede vi de to danske koreografer Erik Pold og Anders Schlanbusch – begge uddannet på School of New Dance Development i Amsterdam – med hver en forestilling.

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You got the money I got the soul, et Danse Docu Drama af Erik Pold
Solist:
Erik Pold
Assistent: Pernille Koch
Chorus:
Mette Petersen og Sanna Ölund

Niks Fout = Nothing Wrong af Anders Schlanbusch
Dansere:
Nick Bryson, Esther Hinz, Brian Degn
Lyd: Frank Gustafson

Produktion og presse: Christine Fentz

In collaboration with the artists and Entré Scenen, produced by Secret Hotel. Dance Event with the Danish choreographers Erik Pold and Anders Schlanbusch, who both trained at the School of New Dance Development in Amsterdam, The Netherlands.

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You got the money I got the soul, a Danse Docu Drama by Erik Pold
Soloist:
Erik Pold
Assistant:
Pernille Koch
Chorus: Mette Petersen and Sanna Ölund

Niks Fout = Nothing Wrong by Anders Schlanbusch
Dancers:
Nick Bryson, Esther Hinz, Brian Degn
Sound:
Frank Gustafson

Production & press: Christine Fentz

Popular Memory – live art workshop

De to live art kunstnere Davida Hewlett og Gillian Wylde ledte en to-dages workshop med fokus på tværæstetisk komposition, utraditionelle arbejdsprocesser og skabelse af materiale til performance. Der arbejdedes med tekst, performance, research, tegning, installation, bevægelse og kritisk respons med særligt fokus på personligt materiale og materiale fra populær- og hverdagskultur.

Davida Hewlett og Gillian Wylde er begge uddannede fra Dartington College of Arts, England og underviser i forskellige sammenhænge og har skabt performances både individuelt og i samarbejde som ”Hewlett og Wylde”, både i Storbritannien og i Europa.

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With departure in their own practice and working processes, the two British live art artists Davida Hewlett and Gillian Wylde ran this two-day workshop. With particular focus on personal material and material taken from the popular and the everyday, the workshop explored ways of generating challenging material for performance and questioning boundaries between disciplines. The workshop included exercises in writing, performance, research, drawing, installation and movement.

Davida Hewlett and Gillian Wylde are educated at Dartington College of Arts, England. They both teach in different contexts and have exhibited and shown work – individually and collaboratively as ”Hewlett and Wylde” – throughout Britain

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Passing Through (2000)

Fire engelske Live Art kunstnere blev inviteret til et to ugers arbejdsophold i Århus, hvor publikum kunne følge og deltage i deres arbejdsforløb undervejs. Arbejdet kulminerede i en event med tre forskellige forestillinger, der blev vist under Kulturhus Århus’ festival Scenekunst 2001. Som en del af kunstnernes ophold udbød de en workshop.

Passing Through – En Live Art Event løb af stablen i efteråret 2000, hvor 4 engelske kunstnere boede og arbejdede sammen i en intens 10-dages periode. Århus by og omegn blev brugt dels som inspirationskilde, dels som et site og som materiale for de endelige forestillinger – disse blev vist samlet for et publikum under eventen Passing Through – En Live Art Event. Som udgangspunkt havde byens borgere og publikum mulighed for at følge kunstnernes arbejde fortløbende I løbet af opholdet.

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Fotogalleri

 

Continue reading “Passing Through (2000)”

Kompagniet lone twin planlagte deres projekt som en del af deres 2-årige europæiske site specific project “The days of the Sledge Hammer have Gone”: En fortløbende ‘happening’, hvor buszonegrænsen brugtes som deres rute og materiale. Før hver forestilling startede de iført hver deres walkie-talkies og udendørstøj forskellige steder på den blå linie, som buszonen er markeret med på de lokale kort og mødtes igen ved forestillingens start kl. 20. Den 30 min. lange forestilling var baseret på historier, observationer og research omkring Århus og kunstnernes eget ophold i byen, herunder dagens vandretur på buszonegrænsen som fortælleramme.

Davida Hewlett skabte en times event bl.a. med deltagelse af det lokale heavy metal band Livjatan.
Gillian Wylde skabte en 30 min. improviseret event, hvor hun bl.a. brugte videooptagelser fra hendes research omkring Århus by.

lone twin (Gregg Whelan og Gary Winters): The Days of the Sledge Hammer Have Gone.
Gillian Wylde:
its shifting hankiepants.
Davida Hewlett:
my side of the mountain – samt bandet Livjatan.

Produktion: Christine Fentz og Synne Behrndt
Støttet af:
Kulturministeriets Udviklingsfond, Århus Kommune, Teaterrådets Pulje til International Udveksling og Kulturhus Århus.


Aften Land (1999)

Aften Land – stedsspecifik vandringsforestilling på gammel badeanstalt, 1999.Aften Land – stedsspecifik vandringsforestilling på gammel badeanstalt, 1999.

En blanding af performance, installation, totalteater og vandring. Århus Svømmehal, kaldet Spanien, har en ubenyttet etage, som kaldes Grossererbadet efter de velhavere, der brugte denne etage i gamle dage. Her skabte vi et særegent univers med udgangspunkt i to temaer: Kropsdyrkelse og Systemer i forfald, inspireret af selve stedet, af et længere ophold i Prag og af Festugens tema “Østeuropa 10 år efter Murens Fald”. Publikum – konsekvent benævnt “gæster” eller “de besøgende” – ankom til badeanstalten, blev bedt om at finde deres småpenge frem, afføre sig deres sko og i stedet tage blå plasticfutter på. Skoene skulle afleveres til bademesteren – en helt ægte og brysk version fra badeanstalten – hvorefter gæsterne kunne begive sig ind i de mange rum på etagen.

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Fotogalleri farve  Fotogalleri sort/hvid

Gæsterne mødte performere, der badede i gammel stil med træuld og sæbespåner, gjorde gymnastik efter 1920’ernes principper og fik smørrebrød, øl og cigarer. Andre performere beboede etagen på bademesterens nåde og tilbød forskellige ydelser til gæsterne – dans i en lille kabine for blot 4 tilskuere, lægeundersøgelse efter obskure principper, indvielse i Arkivarens hemmeligheder om de andre beboere, fodbad hos garderobedamen, suppe med performerne og lignende. I andre rum og kabiner kunne man opleve lyd- og ruminstallationer af forskellige kunstnere og lytte til figurernes fortællinger på walkmen & høretelefoner placeret i lange grå frakker.

Secret Hotel i co-produktion med Teater Felix. Grossererbadet, 3. sal på Badeanstalten Spanien, Århus

Aften Land var inspireret af badeanstalten Spanien og af temaer og anekdoter fra en storby i opløsning. En vandring gennem rum og gange på en gammel badeanstalt. Et sted, hvor publikum er både gæster og aktører og selv træffer valgene. Aften Land kunne opleves som eet forløb, som en beboet udstilling eller som individuelle installationer, lydbilleder, koreografi og teater.

An interactive performance devised as a hybrid between site specific, performance, installation and promenade theatre.

Aarhus Swimbath, also known as Spanien (Spain) to this day has a derelict and unused third floor, known as the Wholesaler Bath. Thus titled due the predominantly wealthy clientel that frequented the premises many years ago. In this site with its history, atmosphere and peculiar architecture we created a ‘dreamscape’ universe based on two overriding narratives: the body and systems deteriorating. The latter theme was inspired by Christine’s residency in Prague and the official theme for the Aarhus Festival week. The theme for the festival was “Eastern Europe – 10 years after the Wall came down” and Aften Land/The Occident perfomed in the Festival.

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Kunstnerisk leder og instruktør: Christine Fentz Dramaturg: Synne Behrndt Medvirkende: Per Andreasen, Mette Demuth, Tina Lauritsen, Peter Sloth Madsen, Poul Erik Michaelsen, Christian Schrøder, Leif Bach Sørensen, Ditlev Wolfhagen, Annika B. Lewis, samt Louise Bertelsen og Christine Fentz. Installationskunstnere: Rebecca Eriksson, Glad Fryer, Jette Gejl, Marc Hartnett, Mads Wahlberg Lydkunstner: Rod Summers DJ: Stephen Williams Tekst: Thomas Bjerregaard og de medvirkende Støttet af: Kulturministeriets Udviklingsfond, Århus Festuge, Aage og Johanne Louis-Hansens Fond, Dansepuljen ved Danseværket og Århus Kommunes Garantipulje.

Artistic director and director: Christine Fentz Dramaturge: Synne Behrndt Performers: Per Andreasen, Mette Demuth, Tina Lauritsen, Peter Sloth Madsen, Poul Erik Michaelsen, Christian Schrøder, Leif Bach Sørensen, Ditlev Wolfhagen, Annika B. Lewis, samt Louise Bertelsen og Christine Fentz. Installation artists: Rebecca Eriksson, Glad Fryer, Jette Gejl, Marc Hartnett, Mads Wahlberg Sound artist: Rod Summers DJ: Stephen Williams Text: Thomas Bjerregaard og de medvirkende. Supported by: The Development Fund of the Ministery of Culture, Aarhus Festival Week, Aage & Johanne Louis-Hansens Fond, Dansepuljen by Danseværket and the Aarhus Council.

When arriving at the Swim bath in time for the performance, the audience – named ‘guests’ or ‘visitors’ would be asked to dig out their change and coins, take off their shoes and by a grumpy and rude ‘washer woman’ be handed blue plastic shoes to wear. They were then asked to leave their shoes with an even ruder bath attendant. After this initial ritual they were on their own, free to discover the different actions, rooms, installations and interact with the seemingly bizarre ‘inhabitants’ of the swim bath, who would behave as if they were partly performers and partly residents of the place. For the ‘guests’ it was difficult to negotiate the line between audience/performer or fiction/reality as they would find themselves part of the narrative/fiction. The performers/residents would bathe ‘oldfashioned style’ and naked in front of the ‘guests’, would perform strange 1920s gymnastic rituals and engage the guests in chats and conversation about their life and routine. Other performers/residents offered their ‘services’ to the guests, for example ‘sell’ their life stories and ‘offer’ information about other people in the Swim bath, perform intimate private/erotic dances, provide medical examinations according to rather obscure principles, invite the guests for foot baths, pour them a bowl of soup, etc. The guests, however, were expected to pay for these services and would be demanded to leave change, coins or payment everywhere they went. The inhabitants could be rather desperate and aggressive and at times a menacing atmosphere pervaded the performance. This reflected the experience of a contermporary Eastern Europe where everything is up for graps and sale. Other rooms in the Swim bath were reserved for installation and sound installation where there would be a different kind of story telling going on.