This online Audio Tune-in & Collage Wrap-up enables the Tanzscout-Team to carry on, establishing connections between dance piece and viewers - hurray!

The Padlet platform will provide a digital space for tuning in and for exchange. It works very intuitively, similar to a pinboard, and is accessed through a link or QR-Code. On the Padlet there is an introductory 10-minute Audio to tune mind and body to the theme of the piece. The tasks proposed are very simple and discrete and can be done at Sophiensæle before the performance begins. After the performance comes the wrap-up. The Padlet can be accessed again to share impressions in different formats: texts, photos, videos, audio recordings and links are all possible. One can also show interrelations between one’s own contribution and others’ by means of arrows. In this way a collaborative Collage is built, reflecting the voice of the audience and growing until the last performance.

DIRECTION María Ferrara

María Ferrara is a performer, choreographer and facilitator for learning processes. She studied Russian Studies at the University of Essex, acting at Estudio Juan Carlos Corazza in Madrid and dance with different teachers in Madrid and Berlin. She is also a certified yoga teacher and Gestalt facilitator. In collaboration with the consulting firm Humor Positivo she has facilitated courses like “The Educational Value of Humour” for the Lifelong-learning Centres for Teachers in the Spanish State Education System. She lives in Berlin since 2014. She creates her own pieces, teaches performing skills and yoga and facilitates self-development processes with artistic practices and a Gestalt approach.

ISABELLE SCHAD
KNOTTING & ROTATIONS
NOVEMBER 06 07 08 09 | 20.00 UHR

Knotting and Rotations are two Solos choreographed by Isabelle Schad for Claudia Tomasi and Francesca d’Ath respectively. They are part of a series of portraits in which Schad develops a choreography based on a single movement characteristic of the person portrayed. In the Audio Tune-in we will approximate this choreographic point of view in order to observe movements, perceive them in our bodies and let them affect us. Movements have specific directions, energies, rhythms and qualities. What kind of world unfolds, when the movement itself, free from functionality and meaning, takes centre stage? What images emerge? How do they transform?