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The Hungarian-Serbian poet and performer Katalin Ladik is considered the “Yoko Ono of the Balkans” and a pioneer of noise and performance art in Southeastern Europe: With the “SoundBodyPoetry” of her radical body art performance UFO Party from 1969, she shook the artistic scene at the time and established methods of experimental voice work and physical performance already in the 1970s.
In their first collaboration, German sound dancer Jule Flierl and Slovenian choreo-vocalist Irena Z. Tomažin celebrate their shared interest in Ladik's artistic position: a homage that blurs the boundaries between poetry, acting and experimental voice work, while continuing the two artists' own research into the physical experience of language and the articulation of different layers of the voice.
The piece lasts about 60 minutes without a break. It is open to audiences 16 years and older. Most of the language that is used is spoken English. However, the piece is also accessible without any knowledge of English. The lighting situation is very dark at the beginning and then slowly gets brighter. There are light reflections that can be blinding. Different sounds come from different directions. The audience area on the grandstand is seated. There is one beanbag seat that can be reserved by phone or booked via the online ticket shop, if available. The accessibility information will be continuously updated. If you have any questions or need further information, please contact Gina Jeske at email@example.com or 030 27 89 00 35.
JULE FLIERL studied contemporary dance at SEAD-SALZBURG as well as choreography at EXERCE Montpellier and has worked as a dancer with Bryan Campbell, Martin Nachbar, Ibrahim Quarishi, Gintersdorfer/Klaßen, Sergiu Matis, Tino Sehgal and Meg Stuart, among others. Flierl works with a somatic voice method, the "Lichtenberger Method", which explores through anatomy and imagination in relation to high frequencies and pre-musical tones. The friction between her training in diverse contemporary dance techniques and her vocal training paved the way for Flierl's choreographic works that explore voice as dance. STÖRLAUT (2018) reflects her research on Valeska Gert's sound dances of the 1920s. She is currently working with choreographer Antonia Baehr on the edit for the film Die Hörposaune.
IRENA Z. TOMAŽIN is a dancer, experimental singer and philosopher working in the experimental theater and music context. Her work has been the subject of analysis by Bojana Kunst (The voice of the dancer) and Sophie Herr (Geste de la voix et théatre du corps), among others, and her writings on vocal philosophy have been published in various art publications. She has released three albums: Crying Games, Taste of Silence and Lump in the throat. Her work is a consistent exploration of the non-linguistic voice as a medium in corporeal performance.
CONCEPT, CHOREOGRAPHY, PERFORMANCE Irena Z. Tomažin, Jule Flierl LIGHT Gretchen Blegen SOUND Nicola Ratti COSTUME Jean-Paul Lespagnard HISTORICAL ADVISORY, DRAMATURGY Kata Kasznahorkai PRODUCTION MANAGEMENT Alexandra Wellensiek, Zavod Sploh
A production by Irena Z. Tomažin + Jule Flierl in co-production with SOPHIENSÆLE (Berlin), Zavod Sploh (Ljubljana), Charleroi Danse Centre chorégraphique de Wallonie-Bruxelles (Brussels), PACT Zollverein (Essen). Supported by the Capital Cutural Fonds. Thanks to: Ausland Berlin, Theaterhaus Mitte, Uferstudios, Eden/Dock 11, Maria Jerez, Mateusz Szymanówka, Lulu Obermayer, Luise Meier, Vera Pulido, Gaetan Rusquet, Adaline Anobile, Myriam van Imschoot, Marcus Berger, Antonia Baehr. Media partner: taz.die tageszeitung.