dance/theatre/works
video
movement research
lecture
demonstration
biography
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animal
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Miss
Schubert´s World
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dance
and fight
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heartfelt
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greetings
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kleine
welten
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jagen
I
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jagen
II
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animal
is a mythical creature,
a kind of female centaur. An animal that embodies many
animals. She contains the dancer and moves about with
a natural, ordinary presence, that is when she's not defending
her territory, which she does with a distinctive presence.
Choreography, Dance, Slides: Eleanora Allerdings
Adviser: Ursula Ritter-Gratvol
Music: Jean Marc Zelwer; Madonna
Text: G. Bateson taken from "Mind and Nature"
written in 1979.
Duration: approx. 15 min
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Miss Schubert’s
World
Miss Schubert is living
in an illusory world: she can move along ritual pathways
on the stage and only uses a highly limited movement vocabulary.
Her psychiatrist is trying to free her with the help of
a few experts from the audience ...
”Miss Schubert's world” is an interactive game
in which several players from the audience have to find
different solutions for healing the protagonist.
Concept and Acting/Dancing: Eleanora Allerdings
Psychiatrist: any actor from the local community
Music: Art Of Noise
Duration: approx. 25 minutes
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dance
and fight !
dance and fight – these
seemingly contrary things are interwoven in jerky lines
of narrative and movement. Six of the eight stories
that are told in the piece are about personal experiences
of violence within the artist's closest surroundings.
The two framing stories are tales and recommendations
for fighting practice of 16th century Samurai Myamoto
Musashi.
The dancing in the piece is inspired by the music of
Louis Sclavis which creates a powerful framework for
the performance of dance and fight!
Dance, Text (in English) and Martial Arts: Eleanora
Allerdings
Music: Louis Sclavis
Duration: 25 minutes
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heartfelt
was created out of my curiosity
about rhythm -- how to make a dance through formally
connected steps, jumps and turns that would contain
its own music inside.
What would the relation between space and tempo sound
like?
How would the sound of a quarter turn differ to the
sound of a half turn?
The whole choreography is designed in a way that swings
– sometimes audibly, sometimes visibly. Indeed,
the work may be thought of as a merging of the two and
the final impression is one of "seeing music".
Choreography & Dance: Eleanora Allerdings
Duration: 11 min
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greetings (from
Russia)
greetings
(from Russia) uses the technique of certain kinds of
Russian Folkdances that are danced entirely on the balls
of the feet.
Since the feet are hidden under a long skirt, this way
of moving evokes the image of a floating person.
The piece exagerates the look of a Russian folk dancer
hiding entirely within a costume. Like a moveable piece
of architecture, this figurine floats about the stage.
At one
point she conjures up a tiny doll which becomes her
partner for the remainder of the dance.
Merging the stage principles of Bauhaus artist Oskar
Schlemmer with own inquiries of Russian folk art, the
piece gradually takes on an air of a magic tale about
witches and doll-girls. It follows a dreamlike narrative
where nothing is certain, nothing outspoken.
The music of Peter Fulda, which has been especially
composed for the choreography, supports this atmosphere
in using two slightly off-tune accordions and the melancholic
tunes of Russian folk music.
Choreography & Dance:
Eleanora Allerdings
Music: Peter Fulda
Costume: Berit Mohr, E. Allerdings
Duration: 15 min
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kleine welten (tiny
worlds)
"kleine welten"
emerged from simultaneous explorations of composer-musician
Peter Fulda and choreographer-dancer Eleanora Allerdings
on the theme of „small forms“.
The choreography limits itself spatially to a circular
carpet two meters in diameter. In the dimension of time,
the aim was to find the most concise form for every
section of choreography, so that in the end there were
pieces lasting between 20 seconds and three minutes.
The choreographies, each with its own title, contain
abstract movements, drama and emotion as well as the
recitation of a childhood poem and costume changes.
The composer laid down a 10-bit-formula which functions
as a basic formula, allowing for an infinite amount
of derivative compositions.
kleine welten is an expanding form. It acts as an open
parenthesis -- it can embrace anything. Like an
encyclopedia, it encompasses all that has so far been
named and created.
Choreography and Movement Display: Eleanora Allerdings
Composition: Eleanora Allerdings, Peter Fulda
Piano: Peter Fulda
Guitars: Dirk Muendelein
Duration: 25 – infinite minutes
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jagen
I (hunting)
is a dance-theatre-music
collage based on hunting rituals, roast venison, archetypes,
horn signals to honour dead animals, and myths of predator
and prey.
The texts originate from Marlen Haushofer, Tschingis
Aitmatov, Hugo Ball and Knaurs Jagdlexikon. Music is
by Cole Porter and others.
Interwoven with a comedy-style are more abstract passages
that deal with ”animalness”, living, dying
and fighting.
Parts of the solo animal are also integrated into the
piece.
Direction & Dance: Eleanora Allerdings
Acting & Songs: Lea Schmocker
Trombone: Ralf Bauer
Lighting Design: Britta Mayer
Duration: 50 min
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jagen II
(hunting II)
As a continuation of >jagen
1<, >jagen 2< became a one-time-only event
on November 24th, 2001. It included guest artists from
Cologne, Berlin and Ulm, a storyteller, two set designers
and two musicians.
Choreographed parts and improvisational scores formed
the heart of the piece. It also included a slide show
of raised hides, a song performed with the help of the
audience, a massive costume change of all actors/dancers
and a touching solo by Eduard Pitkowski.
Concept, Choreography, Dance, Slides: Eleanora Allerdings
Dance: Eduard Pitkowski, Ursula Ritter-Gratvol, Sigrid
Westenfelder
Recitation: Martin Ellrodt
Set Design: Roswitha Weigand, Thomas Kellner
Trombone: Ralf Bauer
Trumpet & Tech: Iris de Boor
Choreografy & Dance ”verlorene Beute”
: Eduard Pitkowski
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