From the 14th to the 17th of February 2012 at The Frankfurt LAB.
MEDIATING RELATIONS: scores in sound and motion making
This third workshop in the series offers practitioners an opportunity to engage in Motion Bank related research into the development and use of scores through encounters in the space between sound and motion composition. There are two unique workshops to select from. Both involve a composer and choreographer, well known in their respective fields, invited to work together to collaboratively develop something new and exploratory for Motion Bank. These workshops are for anyone curious about how scores mediate relations with one’s own creative work and with performers, audiences and others. Choreographers, composers, dancers, musicians, sound and installation artists are particularly encouraged to apply. Advanced students and professionals are both welcome. Formal training is not required, but participants should be prepared for both moving and sounding.
For Registration contact: motionbank -at- theforsythecompany.de (Saskia Martinez)
For More Information contact: workshop-moba -at- theforsythecompany.de (Célestine Hennermann)
Things of Significance, Of Symbols & Scores
14-17 February 2012 (four days)
Thomas Lehmen (choreographer) and z’ev (composer) will offer a four-day workshop that draws on z’ev’s creative research into phenomenology and rhythm, and Lehmen’s exploration of social systems in his art practice. The workshop will include research into both sound and motion making with a focus on how the demands of the contents and causes of individual importancies (things of significance) be met in their transcription into a ‘score’ without recourse to arbitrary numerological, graphical or geometrical devices. How can scores mediate relations between both the production of sound and action/ movement and the people producing them? The emphasis of the workshop will be on these inter-relationships themselves rather than on what is produced per se. In this context, certain questions will be explored such as: What, in fact, is a score? Is it a subject/ subjective or an object/ objective? Is it a set formulation or a process? How can experience give rise to a score? And how can one exteriorize/ personify imagination and embody that in a linear flow of symbols? On a practical level, participants would first conceive a monological narrative based on imaginal states /events that they wish to re-present, in this case, for either/ both sound and action/ movement. And then, translate/ interpret that monologue, by whatever means, to construe a symbolic vocabulary [score] to engage in dialogue.
Participation fee for the workshop is 95€ / reduction 65€ (Students). Spaces are limited to early registration is advised. Free entrance to the Thursday evening Salon.
The workshop will be conducted in English
Detailed Schedule:
Tuesday, 14 February: 10-18h
Wednesday, 15 February: 10-18h
Thursday, 16 February: 10-18h
Friday, 17 February: 10-18h
Score Meditations: On the body becoming music
15-17 February 2012 (three days)
Robin Hoffmann (composer) and Isabelle Schad (choreographer) will offer a three-day workshop drawing on their distinct but overlapping interest in how a body can become music. For Hoffmann, his research into writing music to be played on the human body led to the development of a notation system of place rather than action; focusing on the locations where the sound has to be articulated (e.g. places in the mouth). Schad also places an emphasis on a deep awareness of the body in movement connecting to musical ideas and structures. Her scores evolve as the work is performed, each new experience of the score feeds back into its rewriting. For this workshop they will explore together with the participants how these two approaches both inform writing scores for performance and how these scores are executed or interpreted differently by individual body-mind states. They may also take as a starting point graphic notations and scores by several composers including John Cage, Roman Haubenstock-Ramati, Dieter Schnebel, Karlheinz Stockhausen. These scores can be realized through sound as well as motion.
Participation fee for the workshop is 85€ / reduction 55€ (Students). Spaces are limited to early registration is advised. Free entrance to the Thursday evening Salon.
The workshop will be conducted in English
Detailed Schedule:
Wednesday, 15 February: 10-18h
Thursday, 16 February: 10-18h
Friday, 17 February: 10-18h
Reinhold Friedl studied piano with Renate Werner, Alan Marks and Alexander von Schlippenbach and mathematics and composition with Witold Szalonek and Mario Bertoncini. He has given concerts in Europe, North-America, Australia and Japan and has made numerous CDs and broadcasting recordings. He is also founder and director of zeitkratzer. As a composer he has received many commissions including Berlin City, Wien Modern Vienna, BBC London, Berliner Festspiele, ZKM Karlsruhe and the French State. He has developed new techniques of playing grand-piano on the strings called “Inside-Piano”, and his work with dance includes Sasha Waltz (choreography to Reinhold Friedl’s “Xenakis [a]live!”, Palast der Republik, Berlin), Milli Bitterli (Steirischer Herbst, Austria) and Rubato Dance Company (Tanzplattform, Tanz im August Berlin, etc). http://www.reinhold-friedl.de/
Robin Hoffmann studied composition with Nicolaus A. Huber at the Folkwang-Hochschule in Essen after receiving a pedagogical and artistic education as a guitarist with Thomas Bittermann and Michael Teuchert in Frankfurt. He is currently freelancing as a composer and guitarist in Frankfurt, where he also works as a lecturer at the Hochschule für Musik und Darstellende Kunst Frankfurt. His artistic achievements encompass interdisciplinary collaboration with visual and literary artists as well as with dancers, arrangements for several rock bands and experimental improvisation. His compositions have received international premieres and performances all over Europe, in Japan, USA and Australia, and he has collaborated with well-known artists such as Tabea Zimmermann, Christian Dierstein, Nikola Lutz, Michael M. Kasper, Sebastian Berweck, Ensemble Modern, Klangforum Wien, composers slide quartet, ensemble chronophonie, Neue Vocalsolisten Stuttgart and Ensemble Atmosphere. http://www.robinhoffmann.de
Thomas Lehmen is a German choreographer, dancer, performer and teacher. He studied at the School for New Dance Development in Amsterdam, and from 1990 to 2010 he was based in Berlin where he developed numerous artworks. His productions “distanzlos” (1999), “mono subjects” (2001), “Schreibstück” (2002), “Stationen” (2003), “Funktionen” (2004), “It’s better to…” (2004) and “Lehmen lernt” (2006), “Schrottplatz” (2010) are touring world wide. “Schreibstück” and “Funktionen” have accompanying publications. He has taught at universities and has given workshops at the international level. 2010-2011 he was professor in dance at Arizona State University. In his work and his teaching, he is interested in communications and creative relations of human beings and their constitutive factors. His approaches often embrace conceptual methods and linguistic elements. http://www.thomaslehmen.de/
Isabelle Schad is a choreographer and performer living in Berlin. After studying classical ballet in Stuttgart, she danced in various classical companies and began to extend her education looking for different information about dance. In recent years, this has brought her in contact with somatic practices like Body-Mind Centering. Since 1999, she has been developing her own work and has co-initiated several projects (e.g. Good Work and Praticable) that are exploring different ways of working together and questioning modes of production. Her current series of group pieces Musik that she has started in Zagreb and in Berlin, is comparing musical terminology and concepts with physiology, choreographic writing and compositional elements in dance. Since 2009, she has worked on a series of pieces titled Unturtled(s) with the visual artist Laurent Goldring, in which they reverse the relationship between image and body. http://www.isabelle-schad.net
Z’EV is an American a/v poet and sound artist whose interests focus on time dilation and acoustic phenomena. He has worked as a professional musician since 1963. At CalArts he studied in the Ethnomusicology department but was mentored by Fluxus artist Emmett Williams. In 1976 he was presented in the second generation show at the Museum of Conceptual Art in San Francisco. Journalist Louis Morra wrote in 1983: “Z’EV is a consummate example of contemporary performance art, as well as modern composition and theater.” and, “Z’EV realizes many of modernist art’s ultimate goals: primitivism, improvisation, multi-media/conjunction of art forms, the artist as direct creator.” From 1986-90 he was Guest Teacher in Composition and Improvisation at the School for New Dance Development in Amsterdam where he met Thomas Lehmen. http://www.rhythmajik.com/
Back to the Top
Back to Upcoming
