Geometrisches Ballett–Workshop Körperpappen + Musik

Mit Sascha Mock und Helena Fernandino


max. 16 participants:inside

Fri 16.07. 16:00 – 17:30 Workshop body cardboards + light
Sun 18.07. 11:00 – 12:30 workshop body cardboards + music
Sun 18.07. 13:30 – 15:00 Workshop body cardboards + movement with interpretation in sign language

free admission

For the Bauhaus anniversary in 2019, tristan Production realised the world premiere of “Geometrical Ballet” by Ursula Sax with a group of Dresden dancers, performers and a musician to great acclaim from the press and the public, choreographed by Katja Erfurth. Ursula Sax is one of the most renowned German sculptors (born 1935) whose work was strongly influenced by the Bauhaus through her teachers.

As we know, not only architecture and art played an essential role at the Bauhaus in the 1920s, but also performance, dance and theatre, where the basic phenomena of “space and body, movement, sound, music, light and colour” were explored experimentally.

The influences of this time can still be felt today, changes in space, body, movement have increasingly dominant effects in our mechanised, mechanised and digitalised time. Ursula Sax dedicated three different groups of works to the investigation of the basic phenomena, among them the body cardboards.

To round off our preoccupation with the Bauhaus tradition and with the body cardboards, which have not yet been artistically tested, we want to explore a creative physical approach in three workshops with these two-dimensional geometric figures in order to test organic and mechanical possibilities of movement in space in connection with geometric figures, movement, form, light and the colour of sound (language and music).

The workshops are suitable for all ages, no previous dance or scenic experience is required. Depending on the focus, the artistic directors of the workshops are Katja Erfurth (movement) Sascha Mock (music), Ted Meier (light).

“The fascination that emanates from the stage experiments of the Bauhaus is based less on the large mechanical light-space-colour-sound spectacles themselves, which were basically contemporary machine theatre. The true fascination of these experiments shows: In the many abstract models experimented with for the Bauhaus stage, the human body continued to play a leading role, combining with the mechanically generated figures. Human bodies become apparatuses and vice versa. Spaces transform into multi-dimensional autonomous worlds of light, colour and geometry that are constantly in motion.”  Torsten Blume