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)

inter

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)

CONTRA

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.

Labyrinth

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)