Branco-Hase Collaboration

BRANCO-HASE COLLABORATION HAS A NEW BLOG

2010-08-09T16:40:00.000-07:00

PLEASE GO TO: http://brancohase.wordpress.com

WHEN DUCK AND DEATH DANCE - in front the final curtain / 3rd may - 10th may 2009

2009-05-17T12:11:00.000-07:00

a working station in vienna and graz. we began to work on a new piece, starting by reading the book: Duck, Death and the Tulip by Wolf Erlbruch. nevertheless we are taking our own road to talk about Death.

the reading of the book also generated two other artifacts: a short film and picture's section by bjarte blixt. the pictures can be seen at: photos

WHEN DUCK AND DEATH DANCE
(TITLE OF THE WORK IN PROGRESS)

stracts of a reflection by Johannes Schrettle

"... i am thinking of the title again and i have the association of a murderer who is playing with his victim, even if he would not need to do it. he could simply wait till the duck approaches him and he could eat her with pleasure. but maybe he does not even want that, maybe he wants something else? maybe he wants to develop a new relationship, and, for himself, he wants to be something else than death?

... if i think about it afterwards. though, riven."

WORKING STATION oslo, march 2008: "several feet under water"

2008-04-11T02:15:00.001-07:00

RE-ELABORATION OF THE LABORATORY
8 scores developed into 10 scores

OPENING LABORATORY
. exchange of work with the actress Electa Behrens
. a open laboratory session witnessed by Bjarte Blixt

VIDEO EXPERIENCE
with Tor Lie

WORKSHOP
3 days open workshop

2008-04-11T02:15:00.000-07:00

photo: tor lie

words on several feet under water & death: by branco

2008-04-08T00:55:00.000-07:00

a journey towards death

to enter a map of scores is to look into the unknown, encountering death as renovation of power, vitality, awareness and creation. Taking the curiosity as the punching motor to find other possibilities apart from the ones I know. If I am able to dare to die, each day, every day and trust that the floor is my support to bounce out and fly, I allow danger to come closer and find other ways of responding to it.

To walk the path of death facing it, allows oneself to loose all, accepting other entities to arise and talk through. Entities which are nothing more then different dynamic qualities of oneself. Unfolding oneself to encounter those qualities and take them in a hand, as the rider does with the horse. If one let it go, the horse will take over. If one does not shows the way to the horse, it might stay eating the best grass. When rider and horse are one, the ride itself is both. Then one can take from the experience and learn how to let the body remember it. Learn how to register the experience itself. Then let it go. It is gone. It must be.

I allow coming the one I do not know that I know, yet I am.

about several feet under water & stowaways : comments by hase

2008-03-27T09:59:00.000-07:00

several feet under water is a laboratory and artist-encounter between Hase and Branco. we focus on the motion beyond the edges of the body: the unmet bodies.

we look for the musical dramaturgy of 'migrating body cells' inside different settings of our work, always aiming to give birth to a fusion between a known and an unknown element of our tools.

we direct chaotic patterns and reposition ourselves. each content in discourse is transforming the premises. it is an ongoing repositioning of single body-cells, while we look each other as a human being playing.

the body-land is changing with the movement of its migrants. we call a group of body-cells who appear as a shadow penetrating for speech: stowaways.

while already functioning as part of the political landscape these stowaways seem not to be quite fully recognized as a political subject.

the moment they cross the border, they are already inside the constitution of the land.

HELLO

movement and sound is unauthorizable because it cannot be manifested. it is always in the process of construction: the longing, the memory inside a movement, a text, a sound, a song or stillness.

several feet under water is like a global city reconfiguring a partly denationalized space that enables a partial reinvention of citizenship.

in ist essence, it is a redefinition of citizenship itself.

2008-03-26T09:59:00.001-07:00

photo: tor lie

laboratory - poetic reflection by bjarte blixt

2008-03-26T09:58:00.000-07:00

vocal chords. strining, stereo
center tempo moves

calling for a unknown force to appear
living inside
creating a third entity

taking part of the dance of playfull
lust. not obssesed, possesed

creature sound transfered
to movement through movement
he takes his stand
and fill, fulfills

breathing him
missing her
lungs free, body free

who are you?

releasing excess air
tables turned
leading carefully
joyfully following
uncertain
taking pace quickly

what are you doing?

fighting humanity
animal fright
intertwining
mamal curiosity
and flow sound

please don t go.

evolution
quickly through history
take this
and accept this
as i accept you
path of lost history
we play our way
re-play the living

let my movement create
your words
in them you will be bound

words can shatter

(bjarte blixt - oslo, march 2008)

2008-03-26T09:57:00.000-07:00

photo: tor lie

performance - a man called horse is my name

2007-09-04T15:17:00.000-07:00

from above: lederhaas, branco, jacoel

three women as one in de and re relation inside stela's frame of thinking. trying to get closer what can be the memory inside reality. the text, a free inspiration from stela do patrocinio s spoken words which have been recorded and afterwards collected in a book. the origninal words were tranlsated, re worked, and directed into new constructions.

comments

2007-09-02T16:20:00.000-07:00

“ the performance had a visual hypnotic effect, when one got caught up by a seriousness where the audience had to listen another reality. this was a meeting with some kind of darkness, which still had a poetic beauty and power within.”
Lars Øyno –Director, Grusomhetens Teater

2007-08-31T15:02:00.000-07:00

a re and de construction of the idea of the body facing each fraction a new mobility to converse.

performed and created by
fernanda branco, luanda carneiro jacoel, christina lederhaas, tie qiao lie

at podium gallery - kulturhuset hausmania oslo, august 2007

performance Open Books - i can only see a library

2007-08-29T18:01:00.000-07:00

"open books - i can only see a library" won the international mime prize in belgium 2004, has toured in europe and invites to witness this work for the first time in norway (august 2007).

laboratory - reflection of a witness

2007-08-29T17:18:00.001-07:00

they are standing in the middle of the room, watching each other,
silently discussing where to go next, where to start and which
direction to go. I can immediately feel that there might be
something like a map that the two of them both know, an area they
already experienced, a virtual world. due to my recent internet
experiences I compare them with two internet users that are making
a date of their avatars in second life, where everything is different
and human being no longer exist butthey know how to recognize each other.

this moment of entering the performance-world is maybe the loveliest,
for I can see the between-space, between performer and character, etc.
then c and f leave and two beings emerge that remind me of witches,
somehow invoking spirits or gods or something that I do not
understand or see. but I see that they receive energies both
from the earth and from each other, sometimes one of them finds
a source and calls the other one immediately and they go together.
the movements and sounds have something extatical, like pushing
the mind and the ratio out of the body, and see, what remains.

what remains, is energy and a certain order that I cannot decode.
this is what makes me thing about witches or ghosts or ancient rituals.
from outside, voices and cars and music is hears, and every now and
then, a moment emerges where they also receive that messages from outside.

but they pass and then it goes back into a hermetical room that I seem
not to be part of. I wish to have a small door to enter it, that could
be just a word or a phrase or a sign that I can connect with modern life.

but during the whole set I can see that there is a trace that
they are following, a thin red line, a language that they both
understand and that speaks through them. the moment of leaving
the stage, watching the scene, watching me is again very strong.
I can see where a reality comes back that has to do with the cars
on the streets, going to diner or smoke a cigarette.

(johannes schrettle, writer - july 2007, Oslo/NO)