Montag, 21. Juni 2010

mélange étrange
in 13 tableaus mélange étrange, an installative dance/image/sound-performance carries you off into a moving spacial-sensuous experience: Rhythmicising of image, space, sound, movement - overlapping and friction of the media, as if they did a dance together. Images and film-sequences are being projected onto screens and walls, wilfully confront the performance-space with strange architectoral worlds, and create transcending spaces of their own. They connect with sound-compositions modulated from different musical and everyday sounds, in the midst of which a performer conquers her space in the antagonism of the expansive media.

Step by step the spectator gets led from an outside- everyday environment into the magic of a performance world. Outside spaces, aperture vistas, mirrorings in which the performer, turning her language more and more into a dance, continually gets a stronger impact and in the end encounters the inside space and her virtual self.

Angela Stoecklin artistic direction, choreography, dance, photos
Daniela Zehnder light, projections, photos
Janeth Berrettini video, live-camera
Hermann Buehler sound
Goetz Dihlmann technique
coproduction with Tanzhaus Zurich, February 2010

"instant 1", 2009


cultural exchange project
Instant Composition music/dance with artists from different cultural backgrounds

2009, Patravadi Theatre Bangkok


concept / composition: Marie-Cécile Reber
choreography / performance: Angela Stöcklin
2007 (duration 15 minutes)

premiere: January 28th 2008 Gare du Nord, Basel
further performances: 
August 19th, 21st 2010,     Visitenkarten,   
November 21st 2010 Tanz in Olten

move1 explores communication between the two languages music and dance within their crosspoint. From sounds of dancers a danceable piece develops. Can dance be made audible and music be made visible?

"bon voyage"

2006 “bon voyage” (installation performance , duration 8 minutes)
concept / performance / sound: Angela Stöcklin

performances in Zurich, Bremgarten, Baden

In „bon voyage“ a moving image is being created, which resists the limitation of the space:  static of an installation, using limited movement-material, associations to flying (movement with hte least restrictions)? Projecting the figure on the wall as shadow breaks the rules of limited space,and takes it out of its limitations.
„bon voyage“ is a fragile in-between state in a transitory place. There is still some movement, however insecure of which direction it will lead to, which pull will be persued , where the voyage will lead to


2005 “TREMOLO”  (moving installation)
concept / performance /sound: Angela Stöcklin

concept for the performance-fair “le look c’est chic”, RoteFabrik Zurich, May 28th 05,           
        duration 4 hours
further performances: Fasson Theater, Lachen  April 8th/ 9th 06, duration 20 minutes
DaTanzDa “under construction” Tanzhaus Zürich, February 27th 07, duration 60 minutes
    "     "       "Auftakt"                          "             "       , May 2009, duration 2 hours

A woman has prepared and readied herself to present herself before people: not to allow anything to get out of place she holds still...
...however: there is all this inner movement, inner vibrating, wave of in – and outbreath, pulsation of heart and blood, nerve-impulses, all those sounds inside her, the monologues/dialogues between her self – that by and by prevail and take over – and: the outfit gets out of place, the hairdo shifts, it all falls apart...
again and again she rearranges herself, she has to be presentable...

 „ ... her face is quiet, turned, but the inner disquiet like betraying sweat pushes through all pores of her body. The try to keep her balance – and then in one second which decides it all, to still catch herself with a clasping grasp..., and the strange, silently smiling quiet after that.“ (March-Anzeiger, April 06  TREMOLO)

inter too

2004 “inter too” (duration: 20 minutes)

concept / performance: Angela Stoecklin
soundcomposition: Philipp Läng
lightdesign: Brigitte Dubach

coproduction  Tanzhaus Wasserwerk Zurich, December 2004
further performances  groundzero Theater Baden, January 2005

inter too explores in-between states.
Angela Stöcklin finds herself on a circle as a space between something that isn’t anymore and something that is not yet. A performance, which asks questions about the dissolving and naming of the I, when a moment is not quite tangible anymore.
The composition is a structure with landmarks. In the phases inbetween the events are being developed anew each time.

„ In „inter too“ an introspective woman circles clockwise on stage, then sets rhythmical accents, slows down or accelerates her pace, changes to ambling, adds movements of the arms, builds in turning, moves on the diameter of the circle and in the end runs around the other way... Angela Stöcklin.. in her solo concequently pulls through a certain concept. The work on concentration and reduction of the movement-acts dominate the piece.“ 
(Landbote, Dez. 04)


2003 “inter”  (sitespecific performance, duration: 12 minutes) 
concept / performance / lightdesign    Angela Stöcklin
sound                      Frank Bretschneider, Robert Babicz, monolake

made for the corridor of Tanzhaus Wasserwerk Zurich, February / March 2003

inter is an exploration of catching the „not being in the moment“, halting it, bringing it to consciousness to a „being in the moment“
Corridor as stop inbetween A and B, as transitory space, and in the awareness mostly not in the now and here.
inter  is a game with presence /non-presence, and explores the state of not being in the moment; out of walking it fokusses on unconscious fragments of non-presence, draws them close as if with a zoom and thus gives them presence.

"good morning, dancer"

1999 “good morning,dancer”(duration:8 minutes)
concept / choreography / dance: A.Stoecklin & Eliane Kuenzig
music: Fred Frith "throw the bolt", alienated industrial seagulls”

premiere  8th Tanzzeit-Festival Theater am Gleis Winterthur, October 1999
further performances: Tanzparenz 4 Kulturhallen Dampfzentrale Bern, June 2000
studio-perfo Lausanne, autumn 2000
International Choreographic Platform Almada/Portugal, November 2000
12minmax Tanzhaus Wasserwerk Zürich, March 2001

A glimpse behind the scene of a dancer’s mind, busying itself to quite some extent with discomforts and nagging of the body, and how these can make themselves independent and take overhand.

 „... thrilling for example „good morning, dancer“. Two women and the urban music of Fred Frith, which enters into their bodys, moves and jerks through them. Metallically hard. The two bodies, like robot dolls, and yet again so bony-soft human, commit themselves to the music, are being pushed by it, pulled, comply to it’s impulses, like the metal pellets in physics...“ (Landbote, Okt.99)


1996 “CONTRA” (duration: 11 minutes)
choreography /dance /light-concept  A.Stoecklin
music           Paul Hindemith, Jacques Loussier, Steve Martland

premiere: Tanz in Stücken Zurich, Lausanne, Bern, Geneva
Further performances: Männedorf, WUK Theater Vienna, January 1997

in CONTRA the concept of light and space play a major role in the realization of the piece.It begins as if one looked into one level of action, then abruptly into another, back again and once more into another. Almost as if one person danced different roles simultaneously without them listening to one another. These different levels mix in the finale in a choreography  which tears you to and fro.


1992 “Labyrinth” (mini-piece of 6 minutes)
choreography / dance   Angela Stöcklin
music exerpt from Paul Giger’s “Labyrinth
premiere  Tanz in Stücken Zurich, October 1992
further performance 3. Tanzzeitfestival/Tanzwerkstatt Winterthur, November 1992

game between “being moved” and “moving”, or “being led, chased, irritated”, and of when does the I take over direction and leadership
Labyrinth was generated through shere lust in moving and by inspiration of an exerpt of Paul Giger’s music Labyrinth from the film “Chartres”, in which he uses the violin as rhythm - instrument.

„ Labyrinth by Angela Stöcklin lead onto a ridge full of tension: ultimate controle on the one hand side, total letting go on the other. The dancer folllowed the impulses of the music and the body, and still always remained superior in her light and airy movements.“ (NZZ, Nov. 92)