Aus der Reihe tanzen (2015)

World Premiere: October 21st, 2015, Kampnagel Hamburg

„Wollen Sie mich auf den Arm nehmen?“ (Do you want to pull my leg?), or maybe better yet „die Beine in die Hand nehmen“ (take to one’s heels)? – As in English, many idioms in German make reference to the human body. But what was there first, the idiom or possibly the image that it describes? In the past, the Hamburg choreographer Antje Pfundtner’s pieces focused on the duality of language and dance – now, in her new group piece, „Aus der Reihe tanzen“, she is taking language literally and following in its footsteps: a choreography develops that is subject to the directions given by idioms and proverbs, and – cross your heart – is devoted to the question of which of the two (dance or language) needs a translation in order to be legible. Antje Pfundtner puts our usual stage reading material on the line and exaggerates it to such an extent that it begins to become untranslatable.

Do dance semantics exist? And is it the translation that gives a choreography its meaning?

Idea, concept & choreography: Antje Pfundtner
Dance: Verena Brakonier, Magnus Dovärn, Jill Emerson, Matthew Rogers
Dramaturgy: Anne Kersting
Music: Sven Kacirek
Stage: Yvonne Marcour
Video: Philipp Haupt
Lighting: Michael Lentner
Sound: Manuel Horstmann
Artistic assistant: Juliana Oliveira
Production: Hannah Melder

„Aus der Reihe tanzen“ is a production of Antje Pfundtner in Gesellschaft in a coproduction with Kampnagel Hamburg, Theater Freiburg and the FFT Düsseldorf. „Aus der Reihe tanzen“ is supported by the Freie und Hansestadt Hamburg, Kulturbehörde, the Fonds Darstellende Künste e.V., the Kunststiftung NRW and the Hamburgische Kulturstiftung.


Photos: Simone Scardovelli


„The four dancers Verena Brakonier, Jill Emerson, Matthew Rogers and Magnus Dovärn transpose proverbs onto the stage. Some of it is quite direct and understandable, but it is often also removed from literal meanings – liberated by the means of contemporary dance, turns, somersaults and aerials. Watching it is a joy. A unique ‘Gesamtkunstwerk’ is created, a carnival of poetic images and rhythms by the musician Sven Kacirek, so that one always amazed at something. The dancers speak directly to the audience and thus connect well. A small sound studio at the edge of the stage serves as a control center. Above all, the Marina Abramovic performer Matthew Rogers develops a beautiful, wandering ease on stage. The experiment bursts with humor; the costumes become more daring, animalistic, and an alpine horn resounds. It’s nice, what continuous work in dance can accomplish.“ Annette Stiekele/ Hamburger Abendblatt



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