#Marco Goecke

[randomberlinchick]

“Suspended”, not fired, arrested, or forced to eat the rest of that bag of dog shit???!!

If this sociopath still has a job after his suspension and does no jail time, then the good people of Hanover should make it clear that they want nothing more to do with his shitshow and force him out. Dirty, misogynistic bastard.

#seriously #what the fucking fuck is wrong with people? #marco goecke #hanover state opera #ballet #wiebke hüster

[dialogue-queered]

{D-Q Feature}: ‘Kunstkamer - a reflection’

‘Kunstkamer - a reflection’

Ian Bell

21 June 2022

The gestural language of human bodies is fascinating even inspiring[1]. It can intimate moods and all kinds of scenarios and dilemmas. Spacing and pacing as well as artful coordination of speed and athleticism may produce especially notable episodes. This language is omnipresent in all human settings whether households or the arenas of work, consumption, sport, art and more. Crucially, it is expressed (and sometimes overtly formulated) at the boundary of inner subjectivities – conscious and sub-conscious - and externalised identities enacted in social settings.

A professionally, choreographed dance work is one example of an overtly formulated and charged distillation of such a language. In this case, the gestural possibilities are amplified when formal cultures of choreography and story-telling are combined with specific narratives, fashions and costumes, sets, lighting, music and film.

In a recent season of the long work, Kunstkamer, the Australian Ballet (AB) has reworked all these elements. First created by four choreographers of the Netherlands Dance Theatre (NDT) in the period up to late 2019, and ‘steered’ by Paul Lightfoot, it was a work designed to celebrate sixty years of the NDT, and the myriad possibilities of dance[2]. Paul Lightfoot describes it as “a beautiful monster”.

After its opening in 2019 in The Netherlands, a European tour was cut short by the covid-19 pandemic. This adds to the significance of the Australian Ballet’s full staging of the work across multiple, Australian cities in the period April to June 2022.

Kunstkamer means an art room or cabinet of curiosities. Renown in Europe from early modern times as collections of unusual or foreign artifacts, especially those yielded-up by nature and exploration, cabinets of curiosities were the forerunners of museums[3]. Indeed, in some cases they furnished the founding collections for the same. For the NDT, a specific inspiration arose from the C18th works of one, Albertus Bela, especially the latter’s four volume book detailing his collection.

Here the ‘cabinet’ metaphor translates to a series of vignettes rather than an integrated, narrative work. These explore different possibilities of dance and gestural language creating a museum-like experience. The set reinforces this with large, grey, moveable, wall-like structures composed of myriad doors that usher dancers and scenes in and out. The set lighting works precisely to support fluid movement between effects and scenes.

The work, then, eschews narrative apart from micro-stories in vignette but adds singing as well as spoken word with allusive and evocative effects. Each scene is supported by different musical extracts. Some parody particular dance forms in a humorous fashion; for instance, stiff, Strauss waltzes that can sometimes be stifling and class-conscious. Others affirm and take seriously more marginal modes of being: the individual seemingly at the end of their tether or, alternatively, facing a long trek on a road to somewhere unclear.

Most ambitiously, and harking back to Bela’s collections and taxonomies, Kunstkamer begins with, and works from, the premise of a shared capacity for bodily movement and gesture across species; as the AB’s synopsis puts it – across “art and science”. This concern with shared capacity is set from the start via flickering video images.

As one would expect there are strong solo performances as well as pas-de-deux. But what impresses here is the strong, collective structure and organisation as individuals and sub-groups merge into very large ensembles for difficult, extended scenes[4].

Pacing and timing here deserve particular notice; they are radically polarised. The second half, for instance, opens with a stylish and funny, immobile performance supporting posing and day-dreaming. By contrast, most of the scenes feel frenetic, and the shifts between them sometimes “violent”[5]. Overall, I was left entranced but also somewhat exhausted and dizzy by the end.

Nonetheless, as whole, the work is inspiring. The sheer number of forms and the array of music are rarely experienced in one work. At times the nerve-endings around my spine were electrified with the senses firing salvos right through my inner world. Kunstkamer, then, achieves its goal of a celebration of dance and artful movement. It inspires us to continue our own journeys of embodied movement with and for others, and for ourselves.

Copyright: Ian Bell

[1] The writer approaches the issues both from an outsider’s aesthetic love of dance language and music, and the experience of movement as a life-long yoga practitioner.

[2] In addition to Paul Lightfoot, the choreographers included Sol Leon, Crystal Pite and Marco Goecke. Lightfoot discusses the steering process in his interview with David Hallberg, Australian Ballet (2022), ‘A beautiful monster|Hallberg in Conversation with Paul Lightfoot’, 19 April, https://www.youtube.com/watch?v=zdCqIq53BT0, viewed 9 June 2022.

[3] Rooms or cabinets of curiosities had mixed reputations. In some hands they were like trophy cabinets representing the spoils of conquest and colonialism. But in others’ they represented an effort to conserve and document nature, and to promote new, less exploitative attitudes towards it.

[4] Intimations of this difficulty are illustrated by the preparatory videos shared with the public: Australian Ballet (2022), ‘Journey to Opening Night|Kunstkamer’ 21 April. <https://www.youtube.com/watch?v=K0vUt23GLNY&t=80s>, viewed 9 June 2022.

[5] This descriptor is Tim Brynes’ in his 4 June 2022 Guardian Australia review: ‘Kunstkamer review: this fiendishly, complicated ballet is astonishing’, https://www.theguardian.com/stage/2022/jun/05/kunstkamer-review-this-fiendishly-complicated-ballet-is-astonishing, viewed 13 June 2022.

Image: Australian Ballet in ensemble in Kunstkamer, ph David Boud.

#australia #australian ballet #dance #ballet #art #auspol #kunstkamer #cabinet of curiosities #netherlands dance theatre #choreography #paul lightfoot #sol leon #crystal pite #marco goecke #david hallberg #ian bell

[scenariopubblico]

Rosario Guerra: intervista per il FIC Dance Workshop

In attesa dell’inizio dei workshop curati da Ocram Dance Movement nell’ambito del Catania Contemporanea/FIC Fest ci siamo messi in contatto con i danzatori invitati a condurre le lezioni per poterli conoscere meglio. A rispondere in questa prima breve intervista è Rosario Guerra che sarà presente a Catania dall'8 al 12 maggio in qualità di ripetiteur del repertorio di Marco Goecke.

Ricordi com’è stato il tuo primo incontro con Marco Goecke? Quali sensazioni hai vissuto entrando sempre più in contatto con il suo lavoro?

Il mio primo incontro con Marco é stato a Stoccarda, ricordo che stavamo lavorando su un solo I found a fox, e già li mi sentii catapultato in questo nuovo modo di creazione. Lo scrutavo da lontano, ero piccolo ed ero ancora tanto timido ma super eccitato. Stavo riscoprendo un nuovo me. Marco riuscì a farmi conoscere nuove sensazioni mai sentite prima. Riusciva a leggere il mio umore e a farmelo usare nel migliore dei modi. E cosi é stato poi per il resto dei suoi lavori: ogni volta mi ritrovavo in un ambiente diverso, sempre più challenging, puro e stimolante. Ancora oggi quando entro in sala non so cosa sarà ma di sicuro si dovrà affrontare una nuova sfida, che, secondo me, it’s a must per un danzatore.

Qual è il suo training quotidiano e il suo processo di creazione insieme ai danzatori?

Come dicevo con Marco non si può avere una routine nel quotidiano, lui é un artista cosi sensibile che percepisce il nostro stato d’animo; perché l’uno non funziona senza l’altro, ci si deve connettere altrimenti non si va avanti. Bisogna adattarsi alle esigenze dell’altro per entrare nel suo processo di creazione. E quando questo inizia non si perde né tempo né animo. Marco ha un modo di fare coreografia molto unico e inimitabile. A volte é più facile viverlo che spiegarlo.

In quanto danzatore e ripetiteur, cosa vuoi trasmettere del suo modo di lavorare ai partecipanti che non hanno mai lavorato con lui? Qual è il modo per avvicinarsi alla danza di Goecke?

Cercherò di fare del mio meglio per far entrare i partecipanti nel suo stile. Cercherò di far aprire il loro cuore e di stimolarli a fidarsi del proprio istinto esprimendo ciò che realmente sono, proprio cosi come fa Marco con noi.

Infine, cosa ti ha segnato di più del suo lavoro che pensi rimarrà per sempre importante per la tua carriera da danzatore e magari autore?

Si fa fatica a lavorare con altri, solo con pochi si può avere la sensazione di libertà e onestà che Marco ti fa sentire quando ci lavori insieme. Questa sensazione farà sempre parte di me e cercherò di trasmetterla il più che posso al prossimo, sia nell’arte sia nella vita.

#scenariopubblico #catania #Catania Contemporanea/FIC Fest #marco goecke #rosario guerra #ficdanceworkshop #danza contemporanea #interviste

[arcimboldisworld]

Ballettgespräch: Farewell Christian Spuck - Bernhard Theater 11.06.2023

Ballettgespräch: Farewell Christian Spuck - Bernhard Theater 11.06.2023 #Zürich #Tanz #BallettZürich #Farewell #Rückschau #Ausblick

View On WordPress

#Ballett #Ballett Zürich #Ballettgespräch #Bernhard Theater Zürich #Christian Spuck #Chrystal Pite #Das Mädchen mit den Schwefelhölzern #Der Sandmann #Dornröschen #Kritik #Marco Goecke #Messa da Requiem #Michael Küster #Nussknacker und Mausekönig #Paul Lightfood #Rezension #Romeo und Julia #Sol Leon #Tanz #Winterreise

[strechanadi]

FFS MARCO GOECKE, JUST SHUT THE FUCK UP!

#dance #ballet #marco goecke #if you don't know what's happening with him #be grateful #or look up what he did in hannover this saturday #and what he's saying about it these days #literally putting his foot into his mouth deeper and deeper

[dance-world]

Shale Wagman - First Soloist, Bavarian State Ballet

Shale Wagman trained in Toronto and in Monte Carlo at the Académie Princesse Grace. He has received numerous awards, including the first prize at the Prix de Lausanne, the Rudolf Nureyev Foundation award for artistry in 2018 and the youth American Grand Prix (2014). He was the youngest guest ever invited to perform in a principal role (James in La Sylphide) at the Mariinsky. He has performed in many gala performances, including the International Ballet Festival in St. Petersburg Dance Open (2019) or the Gala de Danza in Los Cabos, Mexico.

His first engagement was with the English National Ballet in London under the direction of Tamara Rojo. He has performed in productions by Derek Deane (Swan Lake), Marco Goecke (Hungarian Dance No.1, created for him), Akram Khan (Dust), Russell Maliphant (Second Breath), Annabelle Lopez Ochoa (Frida), Jean-Christophe Maillot (Nutcracker), Christopher Wheeldon (Cinderella) and Wayne McGregor (Chroma solo).

Since 2015, Shale Wagman has repeatedly choreographed, including works for the Académie Princesse Grace, Les Rencontres Philosophiques de Monaco and the Gala de Danza, Mexico.

He has been engaged by the Bayerisches Staatsballett since spring 2021 and was promoted to first soloist for the 2022-23 season.

Bayerisches Staatsballett Bio

#Shale Wagman #Bavarian State Ballet #tänzer #bailarín #dancer #danseur #ballerino #boys of ballet #ballet men #dance #ballet

[beardedmrbean]

A suspended ballet director at the Hanover State Opera apologized publicly on Tuesday for smearing dog feces on the face of a newspaper critic during a premiere last Saturday.

At the premiere of his ballet, "Faith – Love – Hope," Marco Goecke argued with Wiebke Hüster of the paper Frankfurter Allgemeine Zeitung before reaching into a bag and smearing her face with dog poo.

He had previously accused her of writing "nasty, personal" reviews of his work.

What did Goecke say in his apology?

In a written statement Goecke published Tuesday, the choreographer said he was sorry for lashing out at the journalist.

"I would like to sincerely apologize to all those involved, first and foremost to Ms. Hüster, for my action, which I absolutely do not condone," he said.

"In retrospect, I clearly realize that this was a shameful act in the heat of the moment and an overreaction," Goecke added.

What happens next?

Goecke's apology comes one day after he was suspended as director and banned from the premises of the Hanover State Opera due to the reputational damage his actions had inflicted on the institution, as well as for the safety and security of those employed there.

Belit Onay, the mayor of Hanover, welcomed Goecke's suspension on Tuesday.

"I deeply regret that there was an attack on a journalist in the State Opera on Saturday. Attacks on freedom of the press and physical wellbeing have no place in Hanover. I therefore welcome the suspension of the person responsible," Onay wrote.

The mayor added that he reached out to the dance critic "to express his regrets on behalf of the residents of Hanover."

The Hanover State Opera called on Goecke to explain himself in the coming days, at which point management would determine next steps.

Police in the northern German state of Lower Saxony have opened a case for simple assault and insult.

Goecke is internationally known and has received awards including the German Dance Prize in 2022.

Stylistically, he is noted for his trademark sunglasses and toting around his dachshund "Gustav" in a small carrier at the opera house.

#nunyas news #ok this is funny

[isay]

This story is wild.

[sdeet]

NDTのオンライン配信を見た（二日目）

今日はマルコ・ゲッケ。

Marco Goecke In the Dutch Mountains NDT 1

これはトレーラー

これは作品詳細

マルコ・ゲッケ振り付けの、異様に細かくコマ切れな動き、好きなんだけどこの変な質感形容しがたいよな……って見るたび思う。

痙攣のようでもあるけどこわばってもいてでもがんがん動いてばちばちに細かく止めが入っててコントロールされまくっててて全体としてはなめらかに流れていて、激しい動きというわけでもないがノイジーででもよどみなくずっと動き続け、それでいてたまにイソギンチャクの群生みたいな湿度ある変な柔らかな質感がある。

最初の方の、背景に浮くスモークが雲のように漂う暗い空間で一人ずつ出てきて動いて、去って、というところと、後半の襟巻姿になってからの群舞の、首が二段階ギアみたいな形で振り向いてターンするところが好き。

最後の脚立に後ろ向いてたたずんでる少し上が波で、っていう構図もぐっとくるね。

#日記 #youtube #ダンス #dance #見たもの #Youtube

[kunstplaza]

[schorschidk]

Nach Hundekot-Attacke: Ensemble stellt sich hinter Marco Goecke

Tänzer und Tänzerinnen haben sich am Freitag nach der Vorstellung mit deutlichen Worten an das Publikum gewendet.

[scenariopubblico]

Estetica e coreografia dark di Marco Goecke

Quando mio padre diceva ai suoi colleghi di lavoro che suo figlio stava studiando per diventare coreografo, loro dicevano: "Ah, come Pina!".

Marco Goecke è nato a Wuppertal (la città di Pina Bausch) nel 1972. Dopo aver completato la sua formazione in danza classica a Monaco si è diplomato nel 1995 al Conservatorio Reale dell'Aia. Da subito poi, ha iniziato a lavorare come danzatore all'Opera di Stato di Berlino e al Theater Hagen dove, nel 2000, ha creato la sua prima coreografia intitolata Loch.

A partire da quel momento Goecke ha creato diversi lavori per la Noverre-Society con ballerini del Balletto di Stoccarda e per il New York Choreographic Institute che lo ha invitato. La sua cifra stilistica è stata apprezzata da subito, infatti, ha ricevuto sin dagli esordi diverse commissioni che lo hanno portato a lavorare con numerose compagnie come Les Ballets de Monte Carlo, il Norwegian National Ballet, il Pacific Northwest Ballet di Seattle e il Berlin State Ballet. Nella stagione 2005/2006 Marco Goecke è stato nominato coreografo in residenza presso il Balletto di Stoccarda e la stagione successiva presso lo Scapino Ballet di Rotterdam. Dall'anno 2013/2014 è coreografo associato presso il rinomato Nederlands Dans Theater e dal 2019 al 2023 è stato Direttore dello Staatsballett Hannover dove oggi è coreografo associato oltre all'essere Artist in Residence della Gauthier Dance.

Nel 2015 è stato nominato coreografo dell’anno dalla rivista TANZ ed è dell'anno successivo lo spettacolo che lo ha reso conosciutissimo in Italia: Nijinski (ricevendo, peraltro, sempre nel 2016 il premio Danza&Danza come miglior coreografo). Creato per la Gauthier Dance il suo Nijinski, dopo essere stato portato in scena, nel 2021 entra nel repertorio del Balletto del Teatro Massimo di Palermo.

Sempre nel 2016, esce per la Königshausen & Neumann di Würzburg, la monografia di Nadja Kadel, Dark Matter. Achtzehn ausgewählte Choreographien von Marco Goecke 2003-2015.

A Spoleto 66 lo scorso luglio, Goecke ha partecipato con l'omonimo trittico di coreografie particolarmente rappresentative della sua estetica.

«Il motore del mio lavoro è l’angoscia, può diventare una fonte di speranza. Quello che cerco di fare con i movimenti veloci del mio vocabolario è rendere visibile e palpabile l’ansia per trasformarla in bellezza. Fuggire dal corpo, scappare dai propri limiti».

Più volte la sua danza è stata definita dark, cupa. Proprio per l'urgenza di Goecke di attingere al sentire interiore e profondo le sue coreografie sono poesie visive mai didascaliche ma fortemente legate ad una precisa estetica. Esito sono coreografie forti come radici e - allo stesso tempo - delicate come petali. Il suo lavoro è, anche per questo, sempre basato sulla relazione con i danzatori e le danzatrici, con cui si approccia in modo non gerarchico. Insieme all'ensemble viene a crearsi, prova dopo prova, un forte legame scaturito dalla condivisione della ricerca. Quest'ultima, come già accennato, è sempre affacciata sul vissuto emotivo che viene poi tradotto nel linguaggio di Goecke. Il meccanismo che si instaura è, come ha affermato in un'intervista curata da Maggie Foyer per Danza&Danza (1) - «come un segreto».

«Non c’è bisogno di comprendere la danza da cima a fondo, non si può capire tutto, sarebbe noioso. Meglio lasciare scivolare ciò che si vede a un livello più profondo».

Il repertorio di Marco Goecke approderà a Scenario Pubblico con il danzatore dello Staatsballett Hannover Rosario Guerra, dall'8 al 12 maggio 2024 nell'ambito del Catania Contemporanea/Fic Fest.

(1) Maggie Foyer, Marco Goecke, in «Danza & Danza» magazine bimestrale n.303 marzo-aprile 2022 anno XXXVII prima pubblicazione 25 febbraio 2022.

a cura di: Sofia Bordieri

#Youtube #scenariopubblico #Marco Goecke #ficfest #catania #danzacontemporanea #workshop #rosario guerra #danza #dance

[arcimboldisworld]

Gauthier Dance Company: The Seven Sins - Theater Winterthur 14.04.2023

Gaulthier Dance Company: The Seven Sins - Theater Winterthur 14.04.2023 #Tanz #SidiLarbiCherkaoui #aszurebarton #marcosmorau #marcogoecke #hofeshshechter #sashawaltz #sharoneyal #theaterwinterthur #rezension #ballett #ericgauthier

Eine der bekanntesten deutschen Kompanien ist mit drei Vorstellungen zu Gast im Theater Winterthur: Die Gauthier Dance Company – beheimatet im Theaterhaus Stuttgart – zeigt die grossartige Produktion “The Seven Sins”. ERIC GAUTHIER hat es geschafft, sieben namhafte Choreographen zu verpflichten, die jeweils eine “Todsünde” beisteuern: SIDI LARBI CHERKAOUI, ASZURE BARTON, MARCOS MORAU, MARCO…

View On WordPress

#Andrew Cummings #Aszure Barton #Die sieben Todsünden #Eric Gauthier #Gauthier Dance #Gauthier Dance Company #Hofesh Shechter #Kritik #Luca Pannacci #Marco Goecke #Marcos Morau #Mario Daszenies #Mark Sampson #Rezension #Sasha Waltz #Sharon Eyal #Sidi Larbi Cherkaoui #Tanz #The Seven Sins #Theater Winterthur

[katslefty]

[newswireml]

Sorry, Seth Rogen: good film reviews wouldn’t mean much if bad ones weren’t allowed | Movies#Seth #Rogen #good #film #reviews #wouldnt #bad #werent #allowed #Movies

We’ve now had expressions of protest from both the violent and non-violent wings of the anti-bad-review movement. The Hanover State Opera’s ballet director Marco Goecke confronted the Frankfurter Allgemeine ballet critic Wiebke Hüster in the theatre foyer and smeared dog excrement in her face. Now the comic and movie actor Seth Rogen has shared his views on criticism in an interview with Steven…

View On WordPress

[wafact]

Sorry, Seth Rogen: good film reviews wouldn’t mean much if bad ones weren’t allowed | Movies

We’ve now had expressions of protest from both the violent and non-violent wings of the anti-bad-review movement. The Hanover State Opera’s ballet director Marco Goecke confronted the Frankfurter Allgemeine ballet critic Wiebke Hüster in the theatre foyer and smeared dog excrement in her face. Now the comic and movie actor Seth Rogen has shared his views on criticism in an interview with Steven…

View On WordPress