- 24 apr 2015 – 16 may 2015, Small Stage.
- 2 hours, including 1 pause.
Whatever Singularity #453: Solo For Maxime / Dancing with Alain
- Choreography, Set design and Light design
- Tilman O´Donnell
- Maxime Lachaume
- Martin Forsberg
- Set and Costume design
- Jenny Nordberg
- Mads Nielsen
- Thomas Bangalter, Dolly Parton, Holly Herndon, Chris Watson
- Ingeborg Zackariassen
NORTHERN (DE)LIGHTS 2
Auroras of contemporary dance. Northern (de)Lights 2 is a platform for contemporary Nordic dance. This year, the three selected choreographers capture the weird and wonderful in the dance theme of the season Wonderland.
Northern (de)Lights 2 is a platform for contemporary Nordic dance. This year, the three selected choreographers capture the weird and wonderful in the dance theme of the season Wonderland.
In Clusterfuck, the choreographer Martin Forsberg kindles the imagination of the audience. By creating a vacuum, then filling it with lights, sounds and smells, he evokes mental images among the spectators – images that he then reverses.
Whatever Singularity #357 – Towards a Dialectics of Affirmation is a solo work by Tilman O’Donnell, choreographer, a dancer and former rehearsal director at GöteborgOperans Danskompani. The French philosopher Alain Badiou is a source of inspiration and his words form the basis of the sound.
Pascal Marty's Like deer in the light was created for two dancers, where he himself is one of them. The piece was inspired by the Stockholm syndrome. It has been performed previously in Katapult 2014, the dancers' workshop, where it was awarded the Katapult Dance Award and thereby became part of Northern (de)Lights 2.
Pascal's thoughts about the piece:
"Is submission power? What is the place of our ego towards an outside aggression? Is freedom something that you can give away or must it be taken? Do we consider ourselves strong enough to be treated as inferiors? The Stockholm syndrome is an example of a bond created between a victim and his molester – but how? Is it about abandoning our ego for someone we judge grander than us? Or is it emphasizing our ego by estimating that the aggressor is not a threat? On what plan do we place ourselves? And how much of it is conscious?"
Please note, strobe lighting is used in Pascal Martys piece "Like deer in the light".