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 Post subject: Sasha Waltz
PostPosted: Tue Feb 26, 2002 4:02 am 
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Location: London, England; Tallinn, Estonia
<B>An Abstract Megalomania of Aestheticism</B><BR>By Wiebke Hüster for Frankfurter Allgemeine

BERLIN. Choreographer Sasha Waltz has always used the space at the Berliner Schaubühne theater very effectively. In "noBody," the final chapter in her trilogy about man and body, she again proves that a bare stage is the most powerful setting. The huge concrete apse of the Schaubühne lies open and visible, just as it did a little more than two years ago in Waltz's first ballet performed here, Körper (Bodies). The nine openings on the right and left sides and in the middle of the semicircle are sealed off by large frosted glass doors. Behind the windows of the upper two floors, dancers appear like silhouettes or colorful ghosts, and then enter the stage through the lower three gaps between glass and concrete.<P>[url=http://www.faz.com/IN/INtemplates/eFAZ/docmain.asp?rub={B1311FFE-FBFB-11D2-B228-00105A9CAF88}&doc={1C5A26D6-6715-474E-93FE-DE51E7B605E5}]<B>click for more</B>[/url]


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 Post subject: Re: Sasha Waltz
PostPosted: Fri Mar 01, 2002 5:46 pm 
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Location: SF Bay Area
Other threads on this highly imaginative choreographer:<P><a href=../../../ubb/Forum5/HTML/000462.html target=_blank><B>Sasha Waltz's 'Allee der Kosmonauten'</B></a><P><a href=../../../ubb/Forum5/HTML/000222.html target=_blank><B>'Körper' by Sasha Waltz</B></a><p>[This message has been edited by Azlan (edited March 01, 2002).]


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 Post subject: Re: Sasha Waltz
PostPosted: Wed Sep 04, 2002 12:42 pm 
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Location: Guildford, Surrey, UK
Article in the Financial Times.

Sasha Waltz


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 Post subject: Re: Sasha Waltz
PostPosted: Tue Nov 12, 2002 4:33 pm 
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Location: Montreal, QC, Canada
FRANK WERNER - NY Times, November 10, 2002:
Quote:
High-Voltage Imagery Grounded in the Body

BERLIN
When the German choreographer Sasha Waltz returns to New York this week after a seven-year absence, American audiences will see how she acknowledges Pina Bausch, the godmother of Tanztheater, yet pursues her own path.
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 Post subject: Re: Sasha Waltz
PostPosted: Mon Nov 18, 2002 11:39 pm 
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Anna Kisselgoff writes in the NY Times:

Quote:
Sasha Waltz, a 39-year-old German choreographer based in Berlin, has said in numerous interviews that it is misleading to compare her to Pina Bausch.

Not to worry. Ms. Waltz is definitely not on Ms. Bausch's genius level of creativity.
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 Post subject: Re: Sasha Waltz
PostPosted: Tue Nov 19, 2002 10:37 pm 
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Quote:
From Berlin and Rochester, Dissection and Homage
Presenting 'The Body'

by Deborah Jowitt
The Village Voice

How that the human body has been OK'd as a component of discourse by scholars in a variety of disciplines, along comes a dance maker to deconstruct it. In Körper, Sasha Waltz, prominent among Germany's younger choreographers and a director of the famously vanguard theater Schaubühne am Lehniner Platz, disassembles her dancers in alarming and punitive ways. more


<small>[ 11-19-2002, 23:52: Message edited by: ArtsMan ]</small>


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 Post subject: Re: Sasha Waltz
PostPosted: Wed Sep 10, 2003 6:31 am 
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New York Times -

Designing Dance as Art Installation
By NORA FITZGERALD

BERLIN, Sept. 9 — In her new work, "insideout," the choreographer Sasha Waltz forces viewers to make choices, and in choosing, they must miss something. The audience strolls through the dance as if through a museum, some chatting or drinking water.

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 Post subject: Re: Sasha Waltz
PostPosted: Mon Apr 26, 2004 10:26 pm 
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Quote:
Dance: Impromptus

By JAMES WOODALL
The Financial Times
April 26, 2004

After four years of bold and prickly experiment, all of it performed to punishingly minimalist scores, German choreographer Sasha Waltz has turned lyrical. Impromptus is a satisfying 75 minutes of intimacy and evocation.
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 Post subject:
PostPosted: Wed Dec 07, 2005 5:17 am 
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Quote:
Bringing Out Schubert's Sensuous Side
by JOHN ROCKWELL for the New York times

Ah, the lavishness of German public arts-financing, despite Ms.Waltz's constant complaints about the stinginess of the city of Berlin. Her new "Impromptus" (2004) still looks pretty grand by church-mouse American dance standards. True, it's for only seven dancers and lasts only 70 minutes. But its large set pieces (designed by Thomas Schenk and Ms. Waltz) fill the academy's main stage, one of those pieces has a hidden pool of water and there is excellent live music, by Cristina Marton, pianist, and Judith Simonis, mezzo-soprano.

published: December 7, 2005
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 Post subject:
PostPosted: Sat Dec 10, 2005 12:26 am 
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I enjoyed "Impromptus" -- the thin walls at BAM's opera house notwithstanding -- which is a bit of a diversion for Sasha Waltz, with a more spartan look and trimmed down scale than I'm used to seeing from this German tanztheater choreographer. But make no mistake: despite the more intimate scope, there are still many surreal moments, including dancers walking in sloshing water-filled boots and a scene with two female dancers bathing nude.

At 70 minutes long, the work seems just about the right length. It's not my favorite Waltz piece but it is fresh, provocative and intelligent.


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 Post subject: Waltzing to Impromptus
PostPosted: Thu Dec 15, 2005 1:36 am 
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Location: Brooklyn, NY
Say what you will about Sasha Waltz, you can’t call her predictable. Dancers and choreographers love a flat, sprung stage. She gives her dancers a dual platform: a white trapezoid raked from mid-stage to stage right, and another stage left raked from back-to-front, slightly underlapping the former. A third trapezoid, this one beige, hangs vertically, set to swinging back and forth for much of the dance. The piece she presented at BAM’s Next Wave Festival was aptly titled “Impromptus,” since the dancers seem to act on an eccentric impulse.

But Waltz is following the Balanchinian model, since five Schubert “Impromptus” (Opus 90, numbers 1-4, plus Opus 142, No. 1. if you’re keeping score at home) form the heart of the score. These pieces, elegantly performed by Romanian pianist Cristina Marton, are very familiar (even if their titles are not), and therefore a challenge to the choreographer: make the familiar new. The score also includes Schubert’s “An Mignon,” Op. 19/2 and three lieder, “Des Mädchens Klage,” “Der Wanderer an den Mond,” and “Der Doppelganger,” sung by the raven-haired German mezzo Judith Simonis. One Impromptu and one song are performed without dancing; several dance passages are performed in silence. The rest are performed with no special honor to conventions of dance or choregraphic niceties.

Waltz also honors the Balanchine model in early parts of the work, with movement that amplifies and illuminates the music, based freely on classical techniques. At other times, she honors her mentors in the German “Tanztheater” movement, personified by Pina Bausch. Later in the evening, for instance, the dancers take up what seems to be finger paints and slather colors over each other and the floor. At this point neo-DADA takes over. Two women strip and bathe in a pool of water, previously hidden from the audience. They throw stunning arcs of water behind two colleagues who dance a beautiful, pas de deux. Curtain.

Brief (not much over an hour) but concise, “Impromptus” reflects a highly fertile dance intelligence. Waltz can produce “pure dance” or she can produce pure “theatre”; she can stir laughter or tears or just a sense of mystery. Her multi-culti company (not one of whom is German!) performs with tremendous dedication and energy. But her principled refusal to have a “proper” Beginning and End denies the audience of a sense of emotional satisfaction. The night I attended, the response was highly appreciative but not overwhelming. I could not help noticing that there were far more vacant seats than usual for a Next Wave offering. It may have been the weather (bitter cold) or the season (there’s a Target next door) or just the fact that Waltz has yet to develop a New York following. But I suspect that, if she is asked back, it will be for a smaller venue.


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 Post subject: influences of sasha waltz
PostPosted: Sat Dec 17, 2005 4:40 am 
Sasha is quite adamant that while she respects and has seen many of Bausch's works, "our styles are different."
While Waltz did study under Waltraud Kornhaas, a pupil of Mary Wigman and the founder of the German expressionist dance theater with which Bausch is associated, Waltz left Germany to study dance. After attending the School for New Dance Development in Amsterdam, she went to New York.
She cites the free expression of Steve Paxton and Trisha Brown, both American, as major influences.
She says that staging performan-ces is a way of having a dialogue not only with her dancers, but with the audience. "I don't want people just to feel happy after watching a performance, but to think, feel and question what I question," she said.

With this excerpt from the JoongAng Daily I like to state that Sasha's influence isn't as german expressionist as it seems.

greetings from Jetty (not logged in)


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 Post subject:
PostPosted: Wed Dec 21, 2005 5:05 am 
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Quote:
Wandering
German ripples in BAM's Next Wave Festival
by DEBORAH JOWITT

Waltz is a co-artistic director of Berlin's Schaub am Lehniner Platz. She needn't stint on dancers or scenery and has produced some extravagant contemporary spectacles. She has said that in making Impromptus she wanted to create something "precious, small, and delicate." But, although the cast numbers only seven, the stage design by Thomas Schenk and the choreographer is magnificent in its austerity.

published: December 13, 2005
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 Post subject: Gezeiten of Sasha Waltz
PostPosted: Thu May 11, 2006 6:40 am 
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Location: France
To see photos of "Gezeiten" of Sacha Waltz in Paris i invite you to visit the web site www.photosdedanse.com
Have a nice surf

Laurent

_________________
www.laurentpaillier.net


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 Post subject:
PostPosted: Sat May 30, 2009 3:30 pm 
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Location: SF Bay Area
It was indeed a coup for the SF International Arts Festival to book Sasha Waltz and Guests and the company didn't disappoint. However, if only it wasn't the SFIAF that booked them as the troupe deserves a much bigger stage to show off their talents.

"Travelogue I" started off slow but grew on me. It started out feeling like an abstract version of a reality TV show about roommates whose lives revolve around the ******* but gradually -- in a short hour-plus span -- became something more complex and engaging, through its various projections of trust, distrust, sexual tensions, friendships, arguments and plain goofiness. In the end it became a tour de force, not only provoking but also highly entertaining.


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