Dossier Insanity Solo

El nombre “Insanity Solo” es apropiado del programa en DVD de entrenamiento-en-casa llamado “Insanity Max-out” (US) que incita el acondicionamiento físico extremo. El proyecto es una rigurosa investigación física que combina las actividades físicas de gran intensidad como Krumping (street-dance), Crossfit e Insanity Max-out con las prácticas somáticas como Feldenkrais (donde el foco se centra en la escucha y las necesidades del propio cuerpo). La pieza indaga en las relaciones psicológicas de esfuerzo-gratificación y explora los estados de éxtasis ante la segregación natural de hormonas que se produce al someterse a ejercicios de alta intensidad energética. Lo que emerge en consecuencia, es un hombre-mujer-máquina con fallos (glitch) emocionales y esquizofrénicos que surgen en respuesta al dilema entre los deseos de la mente y los deseos del cuerpo.

El cuerpo es alterado creando ambigüedades de Identidad, emociones abstractas que navegan entre los sensual y lo monstruoso. Un submundo de humor corrosivo e irónico vestido de jogging de marca desconocida. “Insanity Solo” no sólo mira la cultura del fitness como ritual contemporáneo, sino también reexamina las convenciones sociales de la mujer en la danza y la vida cotidiana. Como investigadora del movimiento es de mi interés enfocarme en el fitness desde una lado artístico y antropológico y así cuestionar el contexto socio-político en el que se manifiesta.

El cuerpo como material para ser esculpido.

¿Qué hay detrás de la fascinación contemporánea con el esfuerzo excesivo? En medio de esta declaración de misión apocalíptica, el programa de Entrenamiento-en-casa “Insanity Max-out” fomenta la camaradería ante el agotamiento. Los entrenadores animan a los gritos a sobrellevar el dolor a través de frases como “Smash it!” (¡aplástalo!) O “Dig Deeper!” (¡Cava más profundo!). Pareciera que la nueva definición de desarrollo personal es sentir como si uno estuviera a punto de morir y que la versión “extrema” de una cosa supone para la sociedad consumista, una mejora del original en lugar de ser una amplificación perversa de ella, buscando consuelo en la abnegación y el sufrimiento.

En oposición a la danza y el deporte, todas las actividades de fitness y culturismo se centran en el cuerpo como objetivo final. El núcleo de la actividad consiste precisamente en corregir, mejorar, “construir” el cuerpo como tal, transformando lo que ya existe hacia un modelo de cuerpo ideal construido socialmente.

El proyecto es una investigación sobre los cambios fisiológicos que se producen en el cuerpo cuando entrenamos como la liberación de hormonas y la relación psicológica que mantenemos con nuestro cuerpo. Mi meta con este proyecto no es limitarme a representación anecdótica y estética del fitness, sino ponerlo en yuxtaposición con la escucha del cuerpo emocional y los micromovimientos y estados internos. Para ello, combino junto al ritual de ejercicios la exploración somática, mediante una estrecha observación de los procesos propioceptivos.

 “Insanity Solo” trata el tema del cuerpo y el poder. Un poder, que al principio, puede parecer banal y centrado en el empoderamiento individual, la auto-mejora y la transformación del mismo cuerpo, pero en realidad investiga a fondo el gran poder que subyace dentro de cada ser vivo: el poder de simplemente estar en un cuerpo que está vivo y actuando. Éste persigue paradójicamente la comunión y universalidad en una sociedad que estimula el beneficio individual sobre todas las cosas. La mente se convierte en un agente subversivo para las necesidades del cuerpo humano. De forma metafórica describe la amenaza que la mente extremadamente racional y materialista supone para la sociedad moderna, donde se eleva la productividad y el consumo sobre el estado de sanidad del mismo y el respeto del medio en el que habita.

CURRICULUM ROCIO MARANO (CONCEPTO, COREOGRAFÍA E INTERPRETACIÓN)

DANCE AND PERFORMANCE

INSANITY SOLO – CHOREOGRAPHY AND DANCE: Rocio Marano. P-Bodies Dance and Performance Festival, Leipzig (2016)

LOS NINJAS / MATTER OF BLOOD – CHOREOGRAPHY, PERFORMANCE: Rocio Marano and Lea Kieffer. BÜHNE: Gaetan Rusquet. Tanztage Berlin 2016. (2016)

LAKE IN THE LOBBY – CHOREOGRAPHY: Alma Toaspern and Susanne Grau. PET_13 -Supported by Tanzlabor 21. Mousonturm, Frankfurt.(2015)

THE ROOMS – CHOREOGRAPHY: Maria Rutanen – Nah Dran 52. Ada Studios, Berlin (2015)

LOS NINJAS / IBIZA REVENGE – CHOREOGRAPHY, DANCE: Lea Kieffer and Rocio Marano + Jefta Tanate. Ibiza Dance and Performance Festival (2015)

LILA – COLLABORATION Research: Rocio Marano, Susanne Grau and Jonas Dometshauser. Atelierhaus Quartier am Hafen, Cologne (2015)

THE GENESIS OF THE NINJAS / DRAWING THE MANDALA – DURATIONAL PERFORMANCE: Rocio Marano and Lea Kieffer. 3AM Flutgraben, Berlin(2015)

TRAUM EINER SACHE / Geschichte der Vögel REGIE AND CHOREOGRAPHY: Julian Rauter, Susanne Grau. Premiere at LOFT Leipzig (2014/2015)

ON BERND AND BEING ONE WITH THE UNIVERSE – CHOREOGRAPHY: Louise Trueheart. 3AM Flutgraben, Berlin (2015)

LOS NINJAS / IBIZA LABOUR CAMP – CHOREOGRAPHY: Rocio Marano, Lea Kieffer. DANCE: Jefta Tanate, Pierre Enaux, Reut Shaube and Musician Daniel Sapir – FILM AND EDITING: Rocio Marano. Ibiza Dance and Performance Festival (2014)

DAS FELD – CHOREOGRAPHY: Julian Weber. Bauhaus Tanzen Dessau, Berlin. (2014)

LAST DANCE OF MARTIN ZSRČKOVIĆ – CHOREOGRAPHY: Juha Marsalo. France and Switzerland Tour(2014)

21 STASTES -CONCEPT and DANCE: Rocio Marano. Residency for Research Project at LAKE STUDIOS, Berlin. (2013)

EL LEGADO DE PINA BAUSCH  – CHOREOGRAPHY: Fabien Prioville. Museu ES BALUARD, Palma de Mallorca (2013)

PINK BLUE MARTINI – Residency Research and Performance: Lea Kieffer with Maria Rutanen, Anna Neuber, Isabell Kouriak and Rocio Marano. Berlin (2012)

LOVE Vedeat Theatre Company (physical theatre) (Spain, 2007/2008) Director: Alekhandro Ansari.

PARADIGMA CERO Vedeat Theatre Company (physical theatre) (Spain, 2006) Director: Alekhandro Ansari

VIDEO WORK

meta_media_lab – Impulstanz Dance Festival, Vienna (2014) Led by Marlon Barrios Solano.

DAILY CONTACT (2013) DIRECTION AND EDITION: Rocio Marano DANCE: Sebastian Wawerek, Rocio Marano -1st Award Freiburg Contact Film Contest 2013, Screening Contact Dance International Film Festival Toronto 2015

Producer and Editor in Vids n Bits Ibiza (2012/2013)

DANZA SIN FIN (dance-video documentary, 2012) DIRECTION, CAMARA AND EDITION: Rocio Marano. Screening at DocumentaQro Documentary Festival, Querétaro, Mexico. Screening at Teatre Xesc Forteza Palma de Mallorca

EDUCATION

DanceWEB 2016 Scholarship recipient – ImPulsTanz – Vienna International Dance Festival

SMASH – Intensive EXPERIMENTAL PHYSICAL PERFORMANCE (Berlin, 2013)

AREA CENTRE DE DANSA I CREACIO. (Barcelona, 2008 – 2012)

B.A GRAPHIC DESIGN – Escola Superior d’ Disseny de les Illes Balears. (Palma de Mallorca, 2004-2008)

VEDEAT TEATRO, Physical Theater. Integral psychophysical study on Performing Art, Acting and Movement. (Spain, 2005-2008)

 

 

CURRICULUM ASISTENTE DE PRODUCCIÓN Y DRAMATURGIA

Susanne Grau
Windmühlenstr. 83
51063 Köln
Germany
3.8.1988

Education:
2016, August, Ricean School of Dance, Hydra, Greece
2015, July/August danceWEB scholarship in Vienna
2013, Jan-Mar Internship at Movement Research, NYC
2008-2012 BA in Contemporary Dance at Cologne University of Music and Dance
2007-2008 Iwanson – School for Contemporary Dance Munich

Selection of works/collaborations
2016, Aug-Nov dancer in „mirrors and windows” by Maayan Danoch, Quartier am Hafen Cologne
2016, „Visitors“, site-specific-performance applying strategies of dosing presence, gravitating around topics of security/safety
2016, Sep dancer in „Zaurak“ by Prue Lang, research phase, Choreographic Center Heidelberg
2016, May – Sep choreographic contributions for City Dance Cologne, a project initiated by Stephanie Thiersch with Anna Halprin
2016, Mar – Jun „The exchange“, an event stimulating a public dialogue on conflict and violence using choreographic tools, by Dana Caspersen and MichaelDouglas Kollektiv
2015, Sept – Dec dancer in „Telling Stories“ by Fabrice Mazliah with MD Kollektiv, performed at Künstlerhaus Mousonturm Frankfurt a. M., PACT Zollverein (march 2016)
2015, Oct-Dec concept/outside eye of „Lake in the lobby“, by Alma Toaspern, produced by Tanzlabor_21, Künstlerhaus Mousonturm FFM
2015, Sept/Oct performer in „Fathers and Sons“ by Davis Freeman, Beursschouwbourg Brussels
2015, August dancer in „The Planet“ by Mårten Spångberg, ImpulsTanzFestival
2015, May-July „Lila“ a research on rhythm, movement and resonance, collaboration with Rocio Marano & Jonas Dometshauser, Cologne/Berlin, funded by SK Stiftung
2014, nov – 2015 jan dancer in „Wildwood Flowers“, by Reut Shemesh, KHM Cologne, Kunsthalle Düsseldorf
2014, Sep-Nov dancer in „Here is You and not Me“, MD Kollektiv with architect/theorist Dr. Michael Steinbusch
2014, Aug-Oct, comissioned by Cologne University of Music and Dance, „Shangri-Las“ investigating group formations and the sense of belonging, performed by dance students
2014, Apr-Jun, choreography/production „Traum einer Sache/Geschichte der Vögel“, in collaboration with director Julian Rauter, coproduced by LOFFT-Theater Leipzig
2013, Dec dancer in „Them“, by Jared Gradinger and Angela Schubot, mousonturm FFM
2013, Sep-Nov dancer in „Golden Trash“ (winner production Cologne dance price 2013), by Georg Reischl, Rautenstrauch-Joest-Museum Cologne
2013, Feb/Mar dancer in „The Nature“ by Marten Spångberg, Eden’s expressway, NYC

 

 

 

 

IBIZA LABOUR CAMP

IBIZA By LOS NINJAS  (2014)  Dance-Video Research Project and Residency

CHOREOGRAPHIE: Rocio Marano and Lea Kieffer MUSIC: Daniel SapirPERFORMANCE: Jefta Tanate, Pierre Enaux, Reut Shaibe, Daniel Sapir, Lea Kieffer and Rocio Marano VIDEO: Rocio Marano

Supported by Dance and Performance Festival, Ibiza Contact Festival 2014
We are a tribe meeting in an old Phoenician island. We use the body as weapon to build a material that has no shape but the shape of the performers themselves and the trade between them. We will document this. It won’t be real but it won’t be fake, like free ninjas running across olive trees and techno music. We move leaning toward the vandalism of Western movies and the cuteness of youtube cats videos.”
We will create a frame of work that aims to bring the body to an ultimate place of presence and readiness. We will train physically in order to develop a common movement vocabulary. Our goal is to create primarily from the body intelligence.
The work will find its’ base in “the making” of itself. We will track the things that thrill and touch us, practice trust and bravery, raise up the physical and dramaturgical potential of the material and of each performer. We play the game and take the risk to loose. We will present an excerpt of the documented material combined with choreographic research in a performative format.
Our creative camp will be strenghtend by artists from different backgrounds and countries who are willing to play the game of creators and collaborators and who share our deep inner desires and interests in the work of video dance.

TRAUM EINER SACHE / GESCHICHTE DER VÖGEL (2014)

“Es wird sich zeigen, daß die Welt längst den Traum von einer Sache besitzt, von der sie nur das Bewußtsein besitzen muß, um sie wirklich zu besitzen. (Karl Marx an Arnold Ruge, September 1843)

DER ‚Traum einer Sache‘ zeigt drei Tänzer, die in ekstatischer Ernsthaftigkeit und mystischem Größenwahn anstelle der faktischen Realität, die Beziehung zu einer vollkommenen Illusion ins Zentrum ihrer Bewegungen stellen. Der Tanzabend paart Anmaßung und Zärtlichkeit und beschwört eine Wirklichkeit, in der es keinen Zweifel an Sinnhaftigkeit gibt. Wie viel Pathos, wie viel Größenwahn und wie viel Utopie verträgt unsere Wirklichkeit? Im Rückgriff auf prominente Motive und Gesten (von Auferstehungsszenarien über Gesten aus der Opernwelt bis hin zur großen Filmmusik) fragt das Stück nach der Aktualität und Dringlichkeit von Pathos heute.

REGIE+CHOREOGRAFIE Julian Rauter, Susanne Grau BÜHNE Andi Willmann KOSTÜM Alisa M. Hecke LICHTDESIGN Jakob Bauer PERFORMER Rocio Marano, Maxwell McCarthy,Katrin Wiedemann MENTORING Doreen Markert – Kulturbüro Enthusiastic Encounters ÖFFENTLICHKEITSARBEIT NRW Anika Bendel

Eine Produktion von Julian Rauter und Susanne Grau in Koproduktion mit LOFFT – DAS THEATER, in Kooperation mit dem Maschinenhaus Essen. Gefördert durch Stadt Leipzig, Kulturamt, Kulturstiftung des Freistaates Sachsen und Kunststiftung NRW.

Premiere: LOFFT-DAS THEATER, Leipzig

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LILA

LILA (2015)
Research and Development LILA
CONCEPT AND DANCE:Susanne Grau and Rocio Marano MUSIK: Jonas Dometshauser. Supported by the SK Stiftung Kultur and Quartier Am Hafen, Cologne. Germany.
This research works on the coaction of of dance and music, movement and rhythm, investigating the creation and dissolution of atmospheres and states. „Lila“ is a Sanskrit word that describes The game of creation, destruction and recreation. LILA is searching for a format where performance and concert can coexist.
How can the visual and acoustical level be understand as voices of a polyphone structure? The pulse is driving the events. The creation of tension and relaxation, construction and deconstruction will be approached through dealing with the musical phenomena of polymeric and polyrhythm, so to say the overlap of several pulses or different accents.
In the development of a movement language we take inspiration from krumping and house dance. As house dance is a style with fast legwork and accents on the offbeats, which produces a feeling of lightness, krumping is a very earthy, expressive and fast style, a constructive relief of aggression. We are interested in aggression and lightness as opposite qualities to embody and overlap.

 

LINK TO : WORK IN PROGRESS VIDEO

LOS NINJAS – MATTER OR BLOOD

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LOS NINJAS / MATTER OF BLOOD (2016)

CHOREOGRAFIE, PERFORMANCE: Rocio Marano, Lea Kieffer
PERFORMANCE, BÜHNE: Gaëtan Rusquet
KOSTÜME: Lea Kieffer
DRAMATURGISCHE BEGLEITUNG: Maja Zimmermann
Mit freundlicher Unterstützung von Tanzfabrik, ada Studios, Dock 11 Eden und Theaterhaus Berlin Mitte.
Special thanks to: Gaëtan Rusquet, Annegret Schalke, Jaseem Hindi, Johanne Merke, Angela Schubot and Ibiza Contact Festival

TANZTAGE BERLIN 2016
KÜNSTLERISCHE LEITUNG: Anna Mülter
PRODUKTIONSLEITUNG: Franziska Schrage
MITARBEIT: Cilgia Gadola
PRODUKTIONSASSISTENZ: Raisa Kröger
DRAMATURGISCHE BEGLEITUNG: Maja Zimmermann
KÜNSTLER_INNENBETREUUNG: Ece Tufan
Die 25. Tanztage Berlin sind eine Produktion der SOPHIENSÆLE

A DRIVE TOWARD EPICNESS. A collision of souls. Los Ninjas are ruling the game. At the edge of the cliff, they search for the ultimate state of presence, with their bodies as weapons, a taste of blood in their mouth, they are ready to kill and heal and trespass. Commitment is in the heart and printed on the skin.

Matter of Blood was born in collaboration with the french dancer and clothes maker Lea Kieffer. In the last 3 years, they have developed together “The ninja Practice”. This practice goes beyond the fictional characters who practice it and their obsession with struggle and risk. Through tasks, scores, habits, tastes, and alternative production strategies, these characters navigate between reality and fiction.

Like in a Tarantino Movie, the ninjas explore a whole range of physical contact, going from tender to aggressive qualities, unfolding the chapters of a non-lineal narrative. It’s the practice of extremes, between artificial modernity and ancient Japanese myths. The ninjas prepare their body-mind for a state of readiness, listening to the performative potential of immediacy and improvisation, giving space for the unexpected. The practice evolves as ninjas continue meeting each other and practice in different situations, constellations and geographic locations.

 

Insanity Solo

 

Inspired by “Insanity Workout”, a series of high-intensity home-workout DVDs, Cat Ninja dived into an extreme solo adventure. Combining somatic practices like Feldenkrais and extreme workout to find out strategies and similarities to deal with movement in daily life and tough situations.

The “extreme” version of anything is now widely assumed to be an improvement on the original rather than a perverse amplification of it, seeking solace in self-abnegation and suffering. This is how Cat Ninja started a journey into the discovery of body endurance and it relationship with dance, choreography and its theatricality.

Consequently, she finds a place for a Machine-like mindset with emotional glitch emerging. A subworld of edgy humor and grotesque extravaganza in fitness outfit. Exploring the natural body-releasing rush of hormones (like endorphins, serotonin, estrogen, dopamine and testosterone) converting her own combination of exercises including face muscles workout into something we could call a dance.