The art of storytelling needs few words, just the right ones. Hanna Johansen uses this art to create new worlds which provide adults and children unexpected, funny and ironical insights into their own world. Mia, was ist ein Trip? Mia, What is a trip? Mia is a junkie and one day she cannot conceal it from Matthias any longer.
His parents forbid him to see her any longer. When he meets her, her condition is already incura- ble. The boy takes on a big project: Al- though it is quite clearly a problem-centered picture book, conceived in cooperation with the Swiss Central Agency for Addic- tion Prevention, the text and illustrations convey an atmosphere of security in Mat- thias's home as well as the vulnerability of: This book provides an opportunity for discussion and lets even younger children know how dangerous drugs are, but also that in certain cases addicts can be cured.
He learns about a region where one can acquire as much land one is able to mark off by walking from sun-up to sundown. He decides to take up this good bargain but overtaxes himself with his march around his future land and dies. The German version of this Russian has been shortened and adapted for children. The illustrations contain the traditional Russian folk art motifs in richly detailed and yet grandly playful, humorous and brightly colored variations. Interspersed with ironic jabs at the religious practices and everyday life in grand old Russia, there is a new picture world of men, women, angels and animals on each page.
Countryside and cities are boxed inside of one another, make-believe maps with cyrillic writing draw attention to themselves. The illustrator Elena Abesinova lives and works today in Kiev. ISBN Sleep - Dream - Toad - Fantasy - Orderliness While taking an adventurous journey, Mary Caroline and the dreamtime toad meet the Sudel a German term for sloven , little friendly creatures whose disconcern for orderliness - especially at the table - immediately wins the full sympathy of the child.
But while the Sudel are able to simply shake off their messes, all of Caroline's messes are still to be seen on her clothing the next day. And yet it is clear - dreams can help. Suddenly he realizes that as a professional cook he must kill the fish. But when the queen of the fish promises to marry him, he changes his cuisine from fish specialities to sweet dishes. The illustrations are on the one hand notably reminiscent of the old masters. A touch of children's painting, on the other hand, may be seen in the fish and their surroundings. The resulting tension matches that between dream and real-life.
In the course of one day he conquers seven threatening lions. They cross his path while he was defending himself against the other children. At home in the evening he tells all about it and it becomes clear that he can fight crocodiles, too they are sitting at the dinner table with him. It needn't only be lions. This is an eyewinking book of encouragement that children will immediately respond to.
He encounters the great Mother Earth who has tried to heal the wounds to the earth which men have caused. Finally she announces the Great Flood and the chief 's son survives in the Ark. When the flood recedes, the earth begins to bloom again. A dolphin becomes a young woman and she stays with him.
This Indian legend unites Christian biblical and naturalist myths. The topic of war and peace is expanded upon by the illustrator by focussing on Nature and the idea of creation. A lion comes to her rescue and the black king's son chooses the lovely Cinderella to be his wife. Thereupon the stepmother and her daughters, filled with jealousy and anger, turn into large and angry buzzing flies. Ever since then all large flies buzz.
This variation of the widely known fairy tale motif, in which a lion turns into a braid-making hairdresser for the African Cinderella, gives the story a fully new touch. The pictures are based on African art. ISBN Cyberspace - Future - Media - Crime - Detective In the year it may be possible for a virtual talkmaster to have eternal youth, while his human original is dying of boredom in a retirement home. The reader will find himself confronted with baffling new forms of cohabitation, interpersonal communication and justice.
Using the current usage of electronic media as a starting point, the author takes it virtually and pleasurably ironically a step further. ISBN Bear - Runaway - Mischief - Return home Nurmi is the most curious, most hungry, most sassy, most brave but also the loneliest and saddest bear around. As long as he enjoys his roaming, he plays one trick after the other on people. But when winter comes, he withdraws into the family cave.
And now he is the most-in-love bear of all. This light-hearted story presents interesting possibilities of how bear children can really pester, though not without some risk, the adults. But a happy ending is possible anyway. But the whole touchy matter only gets off the ground when the Moll family takes their holiday at home.
This is a cheerful and slightly ironic story about the apparently so very taken-for-granted living conditions and expectations of people in West Europe. Argument - Neighbor - Wall - Reconciliation It is the wish of the combative shadow-monsters, Morgler and Abenil, to let the wall of the soul between Ferdinand and Fridolin and the stone wall between their gardens grow higher and higher. When the hobo, Wall-flower, decides to take a nap on the little wall, he is able to take the role of a nonpartisan mediator.
With the support of Wittkamp's illustrations, the author successfully portrays the wrongs of a groundless enmity and the satisfying reconciliation of the opposing parties. Frau Meier, die Amsel Mrs. Meier, the Blackbird Wuppertal: Meier live a quiet and fairly uncomplicated life - until a blind baby blackbird lands in their pumpkin patch. Meier raises it, feeding it worms and flies all day and night. The crowning moment of her efforts comes when the little bird learns to fly.
Meier must herself take to flight before the blackbird dares to try. Meier has never seen his wife so happy. Since Erlbruch's stories are not necessarily limited to earthly matters, the theme, tone and pictures of this book fit together exquisitely. In this version everything is possible and in the end they are ten again. This small-sized book, designed to be carried about anywhere by children and adults, to be told and looked at again and again, is pleasing in both word and picture. Here a girl tries to get her glass ball back out of the fox's yard. Only by breaking a number of rules can she find her ball again.
When she flees, the animals whom she meets during her flight promise not to betray her, but do so anyway as soon as the fox makes inquiries about her. The fox, the girl and the glass ball were never seen again. The repetitive style of this fairy-tale plot finds its visual counterpart in the regular spatial design of the pages.
Thus the dynamics of the plot and the statics of the symbolism balance each other out. The animals are being tormented, their food is running out. The she-wolf, Aischa, the little pig, Ludwig, and the raven Kolja succeed in breaking out of their cages and finding a way to the mountains. Tonio, the son of the animal trainer, successfully pursues them in order to save them from being killed.
The author describes the ordeal of the captive animals and their longing for freedom with considerable sympathy. The satirical manner of the artist, as he supplements and interprets the content of the tales, occasionally offers new ways of looking at familar tales. Numerous full-paged illustration plates give this attractively designed, voluminous edition the character of a home treasury, ever ready to be leafed through, looked at and read aloud.
Thus she is pleased to have the friendship of two older gentlemen in the bookstore across the street who in turn encourage her love for literature. When the suspi- cion is raised that Jette is being sexually molested there, her magical fairy tale world is destroyed. She feels humiliated by suspicious adults who think they know everything. Full of insight, but avoiding sensationalism, the author writes about this volatile issue from an unusual point of view.
ISBN Italy - Germany - Cat - Psychology - Leadership Tomcat Nero, six weeks old, is the self-appointed boss of an Italian farmyard thanks to his lion-like bravery which verges on brazenness. He manages to travel to Germany with a family of animal-loving German tourists, to a cat's paradise, and even brings his little naive, blue-eyed, cross-eyed sister Rosa along, too.
With unsentimental, laconic humor the author writes this glorious story of the macho-mafioso Nero the Lionhearted for all cat fans, young and old alike. ISBN Carribean - Everyday life - Outsider - Brother - Color of skin The inhabitants of the Carribean took the proud traditions of their peoples seriously as long as their own daily life was intact.
For instance, evil spirits were made responsible for the light complexion of a baby's skin when an albino was born. The reader discovers in an entertaining but stirring way through one Carribean family many essential facts about this people, whose values have not been able to survive within the Western civilization. ISBN Ecology - Water - Mussels - Pearls - Folktale A folktale, the ecological problems of today's world and the story of one girl's growing up are united in this novel by a fascinating plot.
Margarete feels especially drawn toward the brook and its meadowlands. When the waste water of the new factory cause disease among the clams in the brook, she risks her life to prevent an ecological disaster. The author succeeds in portraying contemporary issues in their social and historical context in conjunction with the developments in the life of a young protagonist. Patiently and with much fantasy he tries to get to know the stone age men's a way of life, though it is very strange to him.
In particular their language is incompatible with his own rich, modern-day vocabulary.
Hence he turns to creating words by using somewhat linguistic techniques of onomatopieia to explain the advantages of cooking and the possibilities of modern technology to the cave men. This is a charming story full of wit and subtle connotations told in an easy-going, unconventional narrative style. Germany German - - 86 Brum, Alexa ed. Heuberger, Rachel et al. Ignatz, Bubis preface Ich bin, was ich bin, ein Jude. But their approach to life is marked above all by the wish to live an absolutely normal life within German society. Books of this type can be the beginning of a necessary opening of the general interest in Jewish matters.
In an appendix further information about Jewish culture and history are included. He counts his friends, but not his enemies for it is an honor to be included in Tiger's count , and everything that creeps and flees. The reader can practice too, in memory of the nice days of counting with little Tiger. This is probably what Dodo thinks, after her birthday wish for such a fish was fulfilled.
It can turn red and blue and multi-colors when it wants to. It can run around the table with Dodo and Dodo can swim with it in the aquarium. They want to find out which is better, running or swimming. Naturally they do all this only in private, without any family audience. The text and illustrations hit the bull's-eye of the secret world of children and fyshes, just as one would expect from this author-illustrator team.
Who Has Seen the Bear? So he looks for the forest while his keeper looks for him. In general it is merely known that the bear possesses the ability to stand on his hands and on his head and to wiggle his ears. However, the author admits that he made up this bear. Uwe Kant gives younger children a funny story and quite incidentally a first introduction into the method and purpose of literary story-telling.
ISBN Easter Egg - Nonsense This unusual picture book is an incentive for an entertaining egg hunt and riddle solving at Eastertime and anytime, where ever eggs can be searched for and found: The painter from Lithuania, who did this book especially for the German publisher, lets richly detailed, brilliantly colored pages tell his story. Each of them has had to deal with death. Seada's brother and her father died in the Yugoslavian civil war.
Corinna's twin sister died as a baby. The author succeeds in vividly portraying the considerable differences in experience between the two children. Minor features of everyday life become important due to the different associations each makes. The reader learns how the two girls together succeed in getting over the catastrophic experiences of their childhoods. Germany German - - 92 Merten, C. But soon they make an unexpected discovery while trying to help an indisposed Mary and find themselves on the trail of a crime. With much humor, the author pokes fun at television reality, where virtual and genuine reality can hardly be distinguished from one another anymore.
ISBN House-sharing - Family - Friendship - Role-switch Jonas has two moms, two dads, five grannys and three grandpas, as well as several half-brothers and half-sisters because his parents are divorced and remarried. His friend Pablo and his mother, who is also separated from her husband, shares a flat with others. Jonas and Pablo decide to switch families on a trial basis, but this doesn't work out. Jonas comes to the realization that to get a divorce one must be an adult. A delightful reminiscence on the days of the student revolution generation, which only partly succeeded in finding new forms of family-style living.
Yet she had given her word of honor to her brother that she would not do so. When the Russian army approaches, the soldiers take revenge for all the injustice suffered at the hands of Germans by randomly shooting down most of the village inhabitants. The young Russian is not there to save Anna's family. He had already been shot by her fanatic brother. The author succeeds in rendering an extreme situation in a impressive literary form. Floh Dickbauch Flea Fatgut Leipzig: He tries to be a pig: But when he discovers that the usefulness of a pig is calculated in pounds, he prefers to find a more intellectual occupation.
He pricks anyone who picks on other people. To everyone's joy, these bad-tempered people become ready and willing to improve themselves. This is a parable about the role of material and spiritual values in life. Das geht doch nicht! No one can or wants to try to stop her, but they grow more and more amazed.
It appears to be something gigantic. The family is already celebrating under the Christmas tree in the kitchen there is not enough room anywhere else when the beloved child finally reveals the secret. The family is given a ship, big enough for them all to fit into, and they immediately go off to the sea, even though the necessary demolition of the apartment house in order to get the ship to water is rather disturbing to some of them. This affectionate-ironical story about the situation of the youngest children, who are both gifted and pampered, and whose wishes are hard to refuse. The illustrations supplement the events of the plot in a very successful, chaotic manner.
The director is trying to track down his family roots. He and his oriental friend become younger and younger the longer the journey lasts. This is a fantastic, but worldly novel written as a series of episodes from the mysterious world of the circus. The progress of his journey is burdened by the unexpected arrival of an at first unwelcome young female accompaniment.
Surprisingly it turns out that the success of the entire undertaking would be questionable without her assistance. The author gives a captivating account of the peoples and landscape of the far North. The Life of Sofia Kowalewskaja Weinheim: With this example of the fate of an unusual woman, the reader is presented with a vivid segment of the history of political upheavals and the beginnings of women's liberation in Central Europe.
Even younger children will be able to understand how literature and life influence one another with this short biography. As a young boy Lorca lived amidst the other children in his surroundings as a dreamy outsider. Up to his early death in the Spanish Civil War, writing poetry was an existential necessity in his life, which the author cautiously tracked down. But his uncle has been murdered to mention only the beginnings of this pleasureably told satire-detective story.
Uncle Ludwig's well-preserved corpse is hidden in the horror house where Wilfried works. The story is settled to everyone's satisfaction and the bad guys get their just reward. With a black but not bitter humor, the author sketches the dark and lighter sides of humanity, much to the pleasure of the reader.
Damaged Goods / Meg Stuart - About
At the end of the war the family returns to Germany, but now it is Regina who loses her beloved African home. This literary and extremely captivating text gives an authentic portrait of a child growing up in a foreign culture. ISBN Calendar - Poetry Subversive and rebellious in content, conventional in rhyme and meter, these verses come from the whole year long.
Without the aid of a continuous storyline, one still learns much about the joys, sorrows and everyday life of a little girl, about her family problems and celebrations. He must find his way home all alone: He sees old Most just one more time, when the police have extradicted him from a southern country and placed him in a mental hospital. They have much to whisper to one another in the magical hour between daytime and dreamtime - about flying, story-telling and celebrations. With this impressing large-sized format, with folds and flaps to look at and read - the artist has truly made this an uplifting book.
ISBN Single mother - Outsider - Courage - Vanity - Game The little raven is still too young to fly - but no other raven child can stand on their beak like he can. Hence, it cannot understand why the pheasant is called the king of the birds, since he has those beautiful feathers through no effort of his own and he does nothing else all day but show off by faning his tail. So ever since then a beak-standing raven is regarded more highly than a peacock fanning his tail. This is a story of encouragement for young outsiders.
Auf der Gasse und hinter dem Ofen. A boy, a girl, a young woman and a monk go through a typical day, fulfilling different tasks and duties. The extremely difficult plan to bring the historical context and traditions to life appears to be successful in this large-format portfolio of text and illustration. Factual materials are also included, so that the necessary imaginative processes can take place on the basis of solid facts.
ISBN Nonsense - Logic The caricaturist Hans Traxler gives himself and his readers this gift of a book filled with relaxing double-entendre and so-called non-sense. The purpose behind this activity may lay in pointing out the irony of adult logic which in general usage and as forced upon children is often not easily understandable. Having a laugh over unexpected word imagery is a liberating experience.
Especially when laughing together. When his mother and father bear no longer get along peaceably in their cramped cave, it is better for everyone when he meets the father outside to play and romp about. And soon he comes back again. This picture book does not make use of intellectual explanations to show young children how to make the best of an unsatisfying situation.
ISBN Evolution - Dinosaurs - Present - Future The old Maiasaura tells her dinosaur children her dream of Earth - how it was when they came, what was there before them and what would come afterwards.
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Large-sized pictures show the evolution of the animals after the dinosaurs died out, and finally how the world was developed by human beings, those strange and naked two-legged creatures. This is a brief survey of the origins of our world for young people, as narrated by friendly dinosaurs. Only the little desert bear, the Mazaalai, wants to stay where he was born.
All alone he wanders through the deserted countryside until he meets a person who can bring water up from deep below. The Gobi turns green again, the animals return. The vastness of the Mongolian landscape and the Mongolian's close bonds with nature are made evident in the text and imagery of this little book. This utopia or true community among man and beast is portrayed here in text and image on a higher level. The discriminating use of artistic means keeps the book from lapsing into trite didactics.
Bored of this, it flies one day with a fantastic flying machine to the sea where it enjoys exciting adventures to tell all about upon returning home. As exemplary the story, so also the illustrations. Especially the main characters desire to look beyond their own pond. This will strike a chord with younger children and in the simply organized, block-style illustrations there are many details which will appeal to them.
Winkelried is completely unnerved. He cannot find his musical score anywhere. Though he knows that he has the piece he is to play this evening completely memorized, he is about to die of stage fright. But the excitement only spurs on his talent. The audience gives him a standing ovation, and he decides that he will never play from his score again. Endorsed by the Vienna Philharmonic Orchestra, this book will encourage younger perfectionists to have more courage, self-confidence and daring. He is always the last one finished at meals. The other children at kindergarten are bored with him, although he finds his own games very entertaining.
No amount of warnings will help. But the situation changes when Fred's father, a journalist, falls sick due to stress and his hectic pace of life. Now the doctor's advice is to follow Fred's pace, although of course no one will ever manage to be quite as slow as Fred. ISBN Daytime - Daydream - Nature - Shadow A young boy experiences a summertime of nature, discovering the various aspects of the day under an old cherry tree, with animals all around him. His daydreams carry him away, he plays with them, tries to jump over his shadow and observes how it changes from morning to night.
The contemplative view of a long hot summer day, with its intact world of nature and the comfort taken in it by a child, radiates from this book. ISBN Simultaneously publ. She has to forge her mother's signature to get money for the household and a doctor's attest for missing school. Though she is helped by a fellow pupil at school, the help she gets from her grandmother at home seems instead to be a hinderance of her own efforts.
With considerable sensitivity to the explosiveness of such a difficult situation, the author finds the precise narrative balance. When, in the winter of , he makes a remark about listening to enemy radio stations, there seems to be such danger for the family that the father goes underground and Heinrich is sent away to Pomerania. He is still there when the war ends and they must flee from the Red Army across the ice of Frisches Haff on the Gulf of Danzig.
Bombs are dropped on the refugees and terrible things happen. Though Heinrich survives and finds his father again, their family is destroyed; Heinrich grows up in an orphanage. Based on his own biography, the author vividly recalls the war and post-war years of fifty years ago. His bottom side is also in action? Papa has nothing better to do than stare in amazement. The witty words and illustrations describe this elementary family situation.
Das Wunderei The magical egg Hamburg: He succeeds in getting the miniature girl, Ninette, to come out of the egg into his world, but loses her again when the magical egg finally breaks. The beholder of this picture book is swept away into a world of nighttime spaces in which anything seems possible. Das Abenteuer The adventure Weinheim: ISBN Cat - Dog - Fear - Play - Friendship - Adventure A pleasurable, though entirely accidental encounter help to correct the long-standing misunderstanding between two neighbors. While at play the ball rolls from the cat house to the dog mansion and the attempt to get it back leads for the first time to an understanding between the two parties.
And there is a chance for more. Together with her text, Berner's colorful pictures make for thoroughly entertaining reading. ISBN X Flies The joys and sorrows of being a fly are portrayed here for young children in short lyrics along with charming illustrations. Printed on brown packing paper, the bold colors of the fly family members achieve their fullest expression. Graeff, Max Christian transl. Die Menschenfresserin The lady cannibal Wuppertal: L' Ogresse en Pleurs.
Afterwards, she is shattered by her own deed, for she has eaten her own child. The excellent German translation of the impressive, laconic text is both expounded upon and extended by Erlbruch's pictures, which leave wide berth for interpretation. Decorative elements such as the ever recurring, surrealistically strewn philodendra leaves or the child's sailor's suit allow an analysis, or perhaps a persiflage, of middleclass life.
Good luck, Emil Luck! From there he is able to provide his family at home in Gronau-an-der- Leine with the basic minimum needs. This fastpaced narrative revolves around his adventures and his often sly methods of getting by in a foreign land. Inventive, ironic illustrations round out this attractive little book, which will appeal to a wide age-range. In prosaic pictures, which give an ironic view of cosy, middle-class homelife, we witness how Santa Claus, Lady Luck and Monsieur L'Amour go to great extremes to pass along their surplus stock of dolls to little boys and girls.
Then the computer notices that this present has been placed ten years too early in the sack, because of a technical error. Thus Antonia gets her doll Simonetta already now, unexpectedly und unplanned. Three cheers for the picture book computer. Although the author takes this aspect very seriously, she also weaves into the narrative a considerable wealth of information about culture and important thinkers in central Europe.
Yet throughout the novel, the protagonists remain vivid and interesting figures at the core of the narrative. Nearly killed along the way, he later learns that he had been rescued by Knapp, who is known in the village as a robber. Boniface is soon fast friends with Knapp's son Christian, but when the family is forced by the neighborhood gossips to emigrate overseas, they are separated. In a natural, sympathetic manner the author transports the reader into the world of the young protagonist. But nothing is given an explanation, even when objects are imbued with animation. In a quite matter-of-fact manner the poet and illustrator expand to the maximum the horizons of experience using a minimum of means.
Each page contains only those objects described in the line of text. Changes are shown in night-time blue, new situations in clear daylight. The continuity in the course of events shown in the sequence of illus-trations corresponds perfectly to the rhythm of the text. Das Kinderkarussell The children's merry-go-round Reinbek: Rowohlt Taschenbuch Verlag, So they scatter a little ash and decide to play detective.
At last they get to the root of things, but not without taking some dangerous risks. A gang of forgers had been using the horse's body as a hiding place. With humour and subtle finesse the author shows what fun children have keeping little and big secrets - and how inventive they can be in trying to fool the adults. ISBN Baby - Pacifier - Conflict - Trickery In this book for both young and old, a subversive little baby learns how to keep its family and babysitters in non-stop action by hiding its one and only beloved pacifier and throwing a tantrum until it gets it.
The pictures, with lift-up flaps for all sorts of po- tential hiding places, will delight playful youngsters. ISBN Cloud - Flight - Adventure - Help The little cloud makes its first long journey and finds lots to tell about the joys and dangers it has experienced. Although the pictures clearly reveal the influence of her master teacher, the alternative, more feminine style of this young illustrator give cause to follow her future development.
The festivities of a Russian Easter night are portrayed in this quiet, reflective and optimistic book. But look there - the grandparents, who have almost nothing to do with child-rearing, do not feel obliged to act as role models - and pick their noses, too. This merry and colorful picture book extolls the passionate pleasures of pursuing one's needs and of forming subversive alliances between old and young against dry conventions.
One day each gets so angry that he casts off his official dress - joker cap, crown and pistol. Now, without their proper owners, these three objects cause the greatest amount of confusion when they land in the wrong hands and on the wrong heads. But in the end they all come to the conclusion that things work best when done by professionals. This is a humorously told parable about real life clothed in figures familiar to smaller children. Der Buchstaben-Fresser The letter eater Hamburg: Naturally it is the work of the letter-eater, also known as letter-switcher.
All this is fairly upsetting in the everyday life of Claudia and her parents, until they manage to trick him back into his R Ei S and carry it off to a deserted forest. Only the way that objects change into words is not treated in this text. Lisas Reise Lisa's journey Esslingen: ISBN Reality - Conformity - Constraint - Freedom - Dream In her sleep, Lisa passes through a nightmare of strange and even antagonistic worlds filled with balls, corners, colors and headstands, until she finally reaches the land of feathers her own bed , where she doesn't have to be round, or cornery, colorful or stand on her head.
At the abstract level, even smaller beholders of this picture book will find sufficient imagery and text to understand the concept of involuntary conformity in a predefined situation and see ways of extracting themselves from unjustified constraint. ISBN Rabbit - Hare - Family - Growing-up - Social differences With amazement and a little displeasure, the children of the field rabbit family and the wild hare family discover certain differences between their kinfolk. They begin to have doubts about the customs and attributes of their families.
Are big ears perhaps better than small ones? Isn't a cave more comfortable than a burrow in the ground? In the course of time all these questions seem to get answered themselves. And in the end the youngest generation moves on to start their own families. Accompanied and enhanced by naturalistic, richly detailed but imaginative pictrues, this book gives young readers not only a glimpse into the life of rabbits, but also guidance in finding one's way through different living conditions.
But Evi, his little human girlfriend, gives him just the answers he needs. Leisurely, like any Zwiggel, he slowly sets out to experience this new environment - leaving plenty of time for the read-along beholder to sink into the story and see familiar things from a new, but not obviously adult point of view. ISBN Mental illness - Outsider - Friend - Garden - Violence Uli, a latch-key child, becomes friends with the fascinating young man, Walder, who lives in the garden colony and tells stories that just cannot be true or makes up things with which he can communicate or conspire.
He telephones with a cordless telephone, supposedly with his father in Africa. His house and garden are destroyed and he disappears from Uli's life. This books gives an impressive view of the world of an mentally instable outsider, showing the differences in the way in which an unprejudiced adolescent and the stick-in-the-mud, philistine middle-class perceive him. The misunderstandings and difficulties set in when a gang of handbag-snatchers who look very much like the courier kids appear on the scene.
With its first volume, this sprightly detective series is off to a good start. She and her sisters experience all the difficulties of this situation - within the family, at school and in their free time. Her fellow pupils make her life so difficult, that she herself arranges to be enrolled in a different school. Things are further complicated by the fact that she is a Muslim, and her father very strictly religious. But finally she succeeds in feeling comfortable in her German surroundings, at the price, however, of no longer having a real homeland.
This fascinating narrative is based on authentic experiences, written by an Iranian woman who has lived in Germany since her childhood and writes today in German. Downstairs are at odds with each other because the Upstairs children make too much noise. But when the noise stops one day after so many complaints, Mrs. Medical advice is now quite simply to hear noise from upstairs again. Her ears begin to shrink back to normal and things are peaceful again.
Aside from this imaginative story, the book stands out for its lively, skilfully drawn and witty pictures. Write a product review. Feedback If you need help or have a question for Customer Service, contact us. Would you like to report poor quality or formatting in this book?
Click here Would you like to report this content as inappropriate? Click here Do you believe that this item violates a copyright? Your recently viewed items and featured recommendations. View or edit your browsing history. Get to Know Us. Further on, they are used to create a semi-circular seating tribune. At the entrance, sounds emanate from a tractor tyre that spins aimlessly round on chains. In another spot, there is an embellished TV screen, filled with trinkets.
And so it goes on, seemingly without end. It transcends immediate comprehension. Between those racks, the performers, complemented by Meg Stuart herself, seek contact with the people via gestures and touches. Many participate in this opening rite. Only afterwards do the performers develop their own rituals. For what other word can be used to describe the strange gestures they make, and which invariably hover between tics, secret signs and a group dance?
Many of the subsequent scenes seem to share mutual relationships, but these frequently overlap and are also supplemented by the voices of the performers, who talk about their experiences. It is impossible to follow everything at once. The only certainty is that the performers not only dream, but that their dreams become ever more indulgent. For example, Jorge De Hoyos, running as fast as he can, tries to take-off with a parachute.
Mor Demer, who is naked, suddenly darts between the viewers. Sigal Zouk and Renan Martins, who dance almost continuously, provide the piece with a baseline. And Mariana Tengner is, to all extents and purposes, the master of ceremonies. Meanwhile, the double bass and electronic sounds of Klaus Janek and Vincent Malstaf reverberate throughout the proceedings. What this means, if anything at all, is not the point any longer. Projecting [Space [ is a quest for what might happen when people come together for one reason, and one reason only: But no one in Dinslaken could resist the enchantment of the giant campfire at the end.
This temporary construction, destined only to consume itself, was the perfect symbol for this work: During the month of August the dance company Damaged Goods works on loca-tion in the Zentralwerkstatt Lohberg in Dinslaken, transforming it into a temporary environment for imagining and experimenting with collective practices of meeting and making.
They address various transformations of energy, ecstatic encounters and care for the unfamiliar — all of it through a gamut of materials that were gathered to feed the smouldering bonfire that is a rehearsal process. And as the fire burns the construction grows invisible and smaller, and then the circle of people around it becomes smaller too, until everyone sits down and eats marshmallows together. One wall of the studio is covered with images collected by all the collaborators.
An arrangement of blue and red-brown images shows a body lying flat on an asphalt road, next to a huge land-scape grazed bare by bulldozers; and below that an underground parking lot that leads to a fantastic grotto with a shimmering light at the end. More worlds can be imagined underneath, perhaps reaching 1. Once the coal excavated and burned in the Ruhr area spurred on a whole industry and culture of workers and production, while society and cultural patterns are now defined by different energy sources as fossil fuels are quickly running out.
If particular energy sources have a profound impact on the cul-tural production of a certain era, then what will the future look like? Our discussion quickly moved away from wood and coal to what drives bodies dancing, sensing, witnessing. What would it be like to harvest a crystal?
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Imagine the almost endless amount of time and pressure required to arrive at such a precise shape and substance. Or imagine the yet unborn fossils, minerals and crystals that carry traces of our time into a distant future. Pushed to the side of the studio wall, there are some photos of dis-used industrial buildings, abandoned amusement parks and shopping malls, or derelict world fair pavilions and Olympic sports stadiums. Modern ruins devoid of human presence. What do the glossy photos of these imploded dreams tell us? Do we perhaps need different images to practice alternative ways of looking at what produced these ruins?
The many disused coal and steel factories in the Ruhr area are in a sense giant rehearsal spaces. Some are in actuality converted into environments used for very different purposes, including the per-forming arts. And not to forget: Along with the interest in industrial archaeology, the reconversion of these factory buildings also provides training spaces in another sense. In the future, there will be new and other disused buil-dings awaiting new purposes. Imagine all those abandoned airports in the not-so-distant-future beyond peak oil — what will we do with them?
Turn them into museums of modernity? Or will they, now hubs for impersonal and swift mobility, in the post-labour society become spots for lingering? Gym spaces for people to keep their atrophied bodies in shape when drones and robots do all the work? Environments for gathering, encounter and ritual?
Imagine all the behaviours and lifestyles that could be practiced in such a space. Also theatre buildings fall to ruin, even though the time of decay eludes the attention and imagination of us, theatre visitors. And yet, long before the forest takes over the debris of a derelict theatre, the elements are already fully alive in there. How can we attend to events and phenomena that lay beyond the senses? Or he wonders how we can look at a theatre also as an actual stone building. Suddenly, the background shifts to the foreground, non-human agents and different temporalities come into play.
In an essay, he concludes: Or imagine your highly sensitive body brushing up against the concrete floor of a former mining factory. Would your body become site-specific? Would material and spatial conditions become partners in the conversation, in this encounter of heterogeneous surfaces and desires? Imagine your attention to the smallest particles being stirred when someone blows a handful of dust across the room. To the right, the photos climb higher up the studio wall.
They follow the dynamics of the people in the images constructing spaces with wooden frames, organising things or drawing abstract lines in the air — gestures that defy gravity and entropy. About a year ago, we found ourselves in a former cement factory, where Jozef Wouters guided a rehearsal around the vocabulary of building. In a delimited space full of stuff — stone, metal, wood — he asked everyone to elevate things.
You can order things, put them upright, stack them, or throw them out if needed. Go about it in a practical manner. The next task was to sit somewhere — to look at the environment from within, to inhabit it, perhaps to transform it yet again. How does your body fit in this space? The memory of these improvisations lingers on whilst reading a wonderful essay by Robert Pogue Harrison on the gardens of homeless people in New York City.
The images on the wall are rearranged every day. Together they also enable us to create scenarios and dream about the work in the making, or to explore how people would behave in certain environments. Travelling along and through those photographs, we could identify with the many nomadic figures in them and their extreme journeys.
Would we be able to understand their reports about the future state of things? Would we be spurred on to sen-sitize ourselves and experiment with spaces and situations of encounter? Would we be able to push our imagination of the present to the edge of the familiar, approach other worlds and begin to experience and care for the foreign in our midst?
Detached from the undocumented practices of the Sepik, these objects are now only touched with white gloves and remain in limbo. A fishing net; ceremonial head-gear; a bat for playing some kind of game; a cooking implement… Who knows? What should we do with it? Imagine a museum of experience, a time capsule in which practices are kept alive. Perhaps you could partake in the revival of extinct languages and practices of another era. It might be an invitation to tune and hone your sensorium, experiment with ways of feeling and perceiving differently.
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After a speculative writing session, dancer Mariana Tengner Barros said it this way: We develop, as masters, practices of perception, from different stimuli of the senses that we accept as valid and all the others for which we still do not have a name or form. Two more images with bright yellow and red colours have landed side by side in the map. A few years ago, several blast furnaces and containers to transport molten iron from the disused Phoenix West factory in Dortmund were sold and shipped to China. In a distant future they might travel back to the Ruhr area, transformed and embodied in an altogether different shape, their energy now contained in a fire-spitting Chinese dragon, with a large group of people dancing to hold up its cloth canopy high above their heads with sticks as the fabulous beast keeps on snaking and fuming.
Deux heures bien bon. Mais Until our Hearts Stop pourrait durer bien plus encore. Je donne tout de mon poids pour mieux soutenir celui de mon partenaire. Et cela implique de plus en plus de partenaires, par agencements passant aux limites. La conduite de tout cela tangue dans une ivresse de la fragmentation spectaculaire. Tout semblerait pouvoir se produire. Et quoi d'autre encore. Or c'est toujours, furieusement, du Meg Stuart. In her first evening-length solo, Meg Stuart takes her body to the stage as an archive of memories, both of family life and her artistic career.
In Hunter, running from 28 to 30 January at the Teatro Maria Matos, the choreographer and dancer is both the hunter and the prey. There are sure to be a large number of respectable studies from those who propose one thing, to the opposite, or the coexistence of both arguing that anyone who finds themselves alone seeks immediate solace in the radio or television.
There will even be those who argue that radio or television would be enough to remove the solitude from that equation. For the choreographer and dancer whose solos had, until now, only been short exercises in a break between two longer pieces the sort that clean the palate or reset the timer before continuing the journey , Hunter is too populous a piece for any trace of solitude to be felt in the solo. In fact, Hunter is quite the opposite: Sometimes, these are perfectly audible to the audience, including those of Allen Ginsberg, William Burroughs or an aunt, mixing the family history that she discovered when digging back seven generations as suggested by a shaman with a host of artists that helped to shape her movement.
At other times, those voices are barely discernible and yet capable of suggesting references that are essentially presumed to be to Jonas Mekas, Yoko Ono, Laurie Anderson, Trisha Brown or Miranda July. In some sense, the piece is summarised in that idea: I felt that while I have the energy and interest to perform, it was a good way to put Damaged Goods [her company] and my creative process into perspective.
With Hunter, Meg Stuart is putting herself into the development of her own discourse. She has thought of and defined the body as a repository of memories for a long time, but never before has she taken this belief so literally and to such an extreme. Looking at her body and her movement as an archive, she decided to amplify and delve into it as far as possible. By moving into the personal domain, the choreographer is identifying a possible response to this previous piece; another form of digging down to try and see herself more clearly.
It was in these excavations that Stuart found herself looking at a diary filmed by the Lithuanian filmmaker, Jonas Mekas: In investigating her own choreographic language and what makes it flesh, Meg Stuart accepts the idea of transformation and uncertainty about her present. Hunter therefore dispenses with the need to establish an order that others can share and work with; it does not appear concerned with defining a collective environment. It is a piece with many layers to it: In fact, Meg Stuart is amused by the idea that Hunter could seem like an excessive narcissistic obsession, simply because around her — somewhat as strange as it is cosy — there are always several ghosts following her every move.
Struggling with the issue of togetherness, Meg Stuart expresses an imperious desire to live and create, showing everything through an exhilarating freedom of tone and movement, which results in a few well-known scenes we are thinking, in particular, of the incredible pair of nudes. This is our pick of this Tanz Im August Meg Stuart began with contact improvisation, but quickly dispensed with its usual taboos — such as violence, or touching in sensitive places. To the looping, sometimes overwhelming jazz strains of Marc Lohr, Stefan Rusconi and Samuel Halscheidt, the six performers paw at, ambush and exploit one another every which way.
They squeeze together onto a single sofa in order to pick and pull at one another, like children abandoning themselves to an explosive mix of curiosity, boredom and listlessness. Finally, they scamper across the stage like young foals that have just been turned out, before ending in an ardent embrace. This looks like absolute freedom.
Both mentally and physically, it sweeps embarrassment aside. Meg Stuart wanted to create a situation that went beyond simply role-playing, and to extend this into the theatre auditorium. You constantly seem to be witnessing an original world in which everything could go in any direction, and in which the imagination knows no bounds. Only Kristof Van Boven stays above the fray, acting as the standard bearer for an adult audience that no longer wishes to take these kinds of excesses seriously, for fear of the implications.
What purpose is served by the long epilogue, in which Claire Vivianne Sobottke begs for love, attention, money and warmth, or by the collective ballet of incomprehensible signs with which the performance ends? Her performers dance, sing, curse and flirt as if their final hour has come. Stuart breaks open her linguistic idiom to create lyrical dance theatre that unites performers and spectators in admiration and, yes, love. Hier geht es um etwas anderes: Alles drei auf einmal, ununterscheidbar, leer und derart verstrahlt, dass man erleichtert feststellt: Des miroitements fusent dans tous les sens.
In Built to Last , the mood stays light, bordering on irreverent, as the dancers assume historic movement patterns reminiscent of Isadora Duncan or German expressionist dance. Meg Stuart sets herself a challenge before creating a new dance. The American choreographer, who is based in Brussels and Berlin, claims to develop an entirely new movement language for every piece as she collaborates with directors, visual artists, musicians and designers.
Rather than following well-trodden routes, these works explore the edges of what is possible. There is no new language emerging from sparky interactions with bolshie musicians here, just an acceptance of prewritten music from a dead composer. Her response was not to overthink it.
The primary response was heroic. When you play it in your living room, your life becomes bigger. Composer Alain Franco joined the rehearsals as a kind of music dramaturg and suggested adding other composers, so the soundscore expanded into a rich tapestry of fragments by Dvorak, Rachmaninov, Schoenberg, Xenakis, Stockhausen and others. This openness is unusual within contemporary dance, where many choreographers have resisted the aural backdrop offered by classical music, fearful it might gentrify their incendiary aesthetic with plush sounds and a veneer of respectability.
Additionally, an association exists between classical music and ballet, whose narrative-driven choreography is antithetical to the conceptual purity pursued by many contemporary choreographers. But classical warhorses such as the Eroica can prove more than an aesthetic threat. Mindful of this, Stuart quotes the Slovenian philosopher Slavoj Zizek, who claims: Or it can be read in a much more ambiguous way.
With music we cannot ever be sure. In so far as it externalises our inner passion, music is potentially always a threat. The threat is proportional to monumentality, a theme that quickly emerged in rehearsals for Built to Last. History is a manner of perspective, not a question of being right or wrong. This questioning needs to be constant, as there is a danger of losing sight of the original meaning and intention behind a monument.
It imposes thoughts and memories, and makes it clear that the present has a past. Music has also constantly imposed itself on dance. Seeking to to divorce dance from any historical cliches, it opened with the lines: With such a weighty subject matter, there is a danger that Built to Last could be self-involved and yawnsome, but Stuart insists the mood stays light, bordering on irreverent, as the dancers assume historic movement patterns reminiscent of Isadora Duncan or German expressionist dance. This is true freedom. An epic on the shoulders of musical warhorses Dublin Dance Festival review.
In taking on classical music warhorses, choreographer Meg Stuart has created a theatrical experience equally epic. Sprawling across two hours, Built to Last throws stones at monuments to the past, questioning our tacit relationship with bombastic expressions of heroism and ultimately presents an uplifting affirmation of the human spirit.
Fourteen excerpts are used as metaphors for historical narrative. Stuart questions how this music can be appropriated and given an immovable mythical status, even though our perceptions of history constantly change. Actor Kristof Van Boven quotes Beethoven: This is the tension underpinning the entire performance: The overall effect is complemented with energetic and pitch-perfect performances by the five performers, that include Maria F Scaroni and Dragana Bulut.
It begins to sway. Then the hand, seeking simple gestures, clenching and unclenching. Next the arm, extended, bending, seeking shape and form. The urge gradually brings all parts of the body to movement and from there to motion. Set against an electronic soundscape, five performers relentlessly seek, find and are frustrated by patterns, culminating in a cacophony of movement and sound before one of the performers quietly brings the others to a halt before turning to nervously address the audience. So begins Built to Last, by renowned choreographer, Meg Stuart, making her Irish debut and kicking off the Dublin Dance Festival with an excellent production that sets the bar high.
When describing itself as a history of dance, Built to Last does itself a great disservice. For it speaks not just to the history of dance, but to the making of dance, to the need of the body to give expression, with or without music. Of an insatiable urge that can find momentarily release in forms and patterns, none ever big enough to accommodate all that needs to be expressed.
At times fleetingly recognisable moments appear, tender tableaux temporarily take shape before passing away in the search for newer forms. At other times it appears as if the lunatics have taken over the asylum as the struggle to find shape grapples with restrictions and the need for form.
If all is shifting, what never changes is the striving for expression, the endless searching, the body constantly reaching out to catch the stars and channel all that heaven will allow. Self-consciously self-deprecating at times, it never ceases to engage, despite its uninterrupted two hours in length. Scaroni and Kristof Van Boven give a delightful ensemble performance, as well as creating exquisite individual moments. The only thing to do is surrender to it.
If dance forms aren't built to last, dance surely will as evidenced by this charming, insightful and, at times, sublime production. Sie beschnuppern sich gegenseitig, kitzeln die nackte Haut der Partner. Egal ob Mann oder Frau. Doch Voyeure kommen in diesen pausenlosen zwei Stunden nur selten auf ihre Kosten.
Dass das jemand macht, beweist, wie Meg Stuart das Publikum zu lockeren Partnern gemacht hat. Aber auch zu dritt bekommen die Musiker um Bassist Paul Lemp, der schon lange mit Stuart zusammenarbeitet, einen fetten Sound hin, der dem massiven Klang einer Big Band um nichts nachsteht. Erst in Zweierkonstellationen, dann als Gruppe. Die Musik nimmt Fahrt auf, die Bewegungen werden schneller.
Dann kehrt Stille ein. So nahe kommt einem Theater selten. Die Grenzen des Wahrscheinlichen dank Zaubereinlagen. Die Messlatte liegt hoch. Beim Saisonendspurt geht es dabei Schlag auf Schlag. Tantra- und Hypnose-Workshops bzw. Das ist gut so! Three women and three men build towers and bridges with their bodies.
In groups of three or four, they twist and entangle their bodies. All this is not new. The nose gets a run for its money; its urge to explore does not stop at the pubic border. Irony, parody, comedy and genuine feelings are mingled together in this sensuous composition of body images, that Meg Stuart is now presenting at PACT Zollverein as part of the Ruhrtriennale.
But this piece, which goes on for two hours without a break, has nothing to do with voyeurism. Carelessly and naive, they run free, rub each other and throw each other around. Some of them frequently comment their own actions. The way Meg Stuart engages the audience without making it feel uncomfortable is extraordinary. In a fully lit theatre, the spectators receive water, fruit and cake. They are offered clay to give their hand muscles a work out as the piece continues.
Unrestrained, the performers talk to visitors, spray cologne or open their shirt and ask spectators to smell their sweat. The fact that they are willing to do so proves that Meg Stuart has succeeded in making the audience become a licentious partner in crime. Until Our Hearts Stop marks a fresh step in the research that the choreographer Meg Stuart has been engaged in for more than two decades.
She tirelessly attempts to pin down the strange interplay between what we feel physically and what we experience mentally, and in so doing, she rarely leaves the viewer unmoved. More and more, it is about experiments in which not only the performers, but also the spectators have a role to play. She regularly confronts viewers head on with the inherent difficulties of the human condition, which can leave them confused. In Highway , for example, she dragged the spectators through a building, before unexpectedly abandoning them to weirdos who went on to indulge in some embarrassing rants.
People often had no idea how to behave. All Together Now tore up theatrical conventions still further. It began with the audience being packed into a space that was far too small, while a voice expressed disgust at the ensuing sweat and odours. It ended with a feel-good session in which everyone was entreated to hold hands. Some felt that they could have died of embarrassment.
But as ever, this is precisely her point: Why do we long for others, yet bolt if someone comes closer? What can we tolereate from one another, and what not? This is endlessly fascinating to watch, as Stuart always manages to find fresh ways of exploring this theme, and never fails to unsettle.
The piece wrong-foots you to such as extent that at a certain point half way through, you barely know whether you are coming or going. To the overpowering jazzy sounds of the trio Samuel Halscheidt, Marc Lohr and Stefan Rusconi, the six performers have already groped, stalked and made use of one another in every conceivable way.
It all begins with a strange yoga session, followed by an equally strange acrobatics exercise. After this, all six performers plonk themselves down on a sofa together. Whether out of boredom or embarrassment, they pick at one another until they are rolling over the floor in a knot of bodies. Two men become embroiled in a dogfight. Two women separate them, before immediately going on to attack one another with equal savagery - and stark naked - before winding up in an intimate embrace.
The fourth wall is breached An hour of these edgy, absurd scenes culminates in a synchronous dance comprised of incomprehensible signals. Just as you have almost given up trying to understand it, the mood shifts. The spectators are suddenly involved in the action, whether they like it or not. The performers offer drinks and presents, sing birthday songs or stage a variety show. The performance then takes a magical turn, both literally and figuratively, with conjuring tricks and a mysterious ritual involving incense and a drum roll.
However, the mood is abruptly broken by the heartrending speech of a lone woman who endlessly begs for attention and love for her pitiful self. This is reminiscent of the weird, embarrassing figures that appeared in Highway Although you are aware that this is only theatre, it still makes you uncomfortable: She illustrates how desperately we long for contact and attention, until our hearts stop. But you are left alone with that uncomfortable feeling, because the performance ends here. Until such time as Stuart comes to knit another chapter onto this endless tale.
Nackt steht sie da. Aber das kann eigentlich nicht sein. Aber irgendwie hat es Meg Stuart doch geschafft: So etwas gelingt nur ihr: Man kann es selbst nicht so richtig glauben. Meg Stuarts Compagnie, die Damaged Goods, ist dagegen etwas ortlos geworden: Das ist der Grundimpuls von Meg Stuarts Arbeit. I take it back. Wie geht das zusammen? Hunter ist zwar ein Abschluss, aber zugleich ein Neubeginn — ein Durchgangsstadium und Sammelpunkt von Energien. Die Spiele der Muskeln, die zeitliche Perfektion: Das Muskelmassiv in der Schulterregion ist deutlich sichtbar nach Meg Stuarts fordernder Tanzpraxis geformt.
The dancer and choreographer Meg Stuart performs her first evening length solo Hunter. The American choreographer, who has been living in Berlin for several years now, has created her first evening length solo at the age of With her unremitting distortions and displacements she proves, yet again, the expressive power of the body.
She explains her so-called embarrassment: And then she begins to talk: The performance is about the memories that have brought her to this point, and that she has poured into words. Meg Stuart explores how experiences leave their imprints on your body — a constantly recurring theme with her. In Hunter , she again opts for a multimedia approach and works with a range of materials.
At the beginning we see her sitting at a table, lost in thought, cutting up black and white photos from her personal photo album and then arranging the cuttings. In one photo, the faces of a mother and child are replaced by animal heads; other photos are painted over with nail varnish, or have shiny paper stuck on top of them. The soundtrack is a collage of different musical works, sounds and voices.
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Two women speak about the fallout from a divorce, another woman reports on a feminist who tries and fails to ruffle a playboy bunny. A broken male voice lectures about the need for change. Private life and philosophy, humour and profundity go hand in hand. The scenographer Barbara Ehnes has built a spacious construction for Meg Stuart, constructed from Plexiglas and metal tubes, which covers the stage like a screen.
As a result, the space is already alive with meaning when Meg Stuart finally takes to the stage. She then lies down on the ground and starts, as though she is charged with electricity. Her body is under huge pressure. She flounders and shakes, throws her arms around and jumps up. She is totally subject to the uncontrolled movements of her body. In Hunter it is as though her insides are being torn.
The variation in her syntax of movement is unique. The scene in which she only uses her arms is overwhelming. Her arms begin to lead a disturbing life of their own. They knot together, become entwined, break free again and only allow themselves to calm down when they are forced to do so. In the flickering projections, you see the father, or the young daughter showing off her first dance steps.
They show Meg Stuart revolving as if in a trance, or a Stuart who is exploring her body as if it were a strange object. Meg Stuart moves between extremely divergent emotional states. For example, she suddenly sinks into an extremely colourful patchwork tent with a series of side-arms.
Childhood is never completely over. At a different point, she takes to the stage with her upper body bared, hiding behind a long, blonde wig. Meg Stuart is one of the most influential choreographers of the contemporary dance scene. Since she has been linked to HAU Hebbel am Ufer as an artist in residence, her career has once again been given a boost. Her creations can now be seen regularly, and are almost always sold out. In Hunter she now shows that she is not only a collector, but also a hunter. She picks up the things she finds and digs into the deepest layers of memory.
The dancer accepts her past, which has a liberating effect. She concludes with an amusing speech in which she sends all those shamans, life coaches and craniosacral therapists packing. In short, she danced for a crowd of Meg Stuart fans. She rewarded their loyalty with a performance that once again personally highlights her style and her unique ability to create moods.
Cutting; tearing; daubing; turning on unusual axes; creating new compositions; distorting and accelerating. These are the techniques that you often see in her choreographies, used alongside everyday movements and dance movements. However, for the first time, she also applies this approach to images. With her back to the audience, Meg Stuart sits at a table messing around with scissors, felt tips, glue, photo clippings and other fragments of memory. A camera projects this, much enlarged, onto a piece of fabric.
Everything recognisable changes continually in front of our eyes. She starts to dance in swinging, shocking movements to a soundscape consisting of all kinds of sound fragments that change in under a second. The movements become mechanical, graceful, fragile and aggressive. The most contradictory emotions and situations are brought together in a highly compact way. Even though they are impossible to name, the movements do not appear abstract. Time and time again, they approach a form of emotional expression or physical state.
The battle for memories that simply do not want to become clear is a dramatic element that plays out here in the unique and fragile body of the choreographer. Super 8 family films and childhood photos are regularly beamed onto a series of projection surfaces. The voices of an old man and an old woman who are trying to express in detail the way things once were can also be heard. At the end, Meg Stuart takes a purring projector whose speed has been adjusted incorrectly, and the snowy image it projects creates an eventful void.
Slowly the image moves to the ceiling and fades out. Such expressive visual and acoustic elements create a reference context for the dance. As well as allusions to the biographical and the personal, there are images of burning houses or bleeding mouths whipping past at high speed. But the difference this time lies in the embarrassment and the toughness, the vulnerability and the violence as facets of one person; as a part of her past.
Lighting Jan Maertens , sound design Vincent Malstaf , scenography Barbara Ehnes and video Chris Kondek combine to create a space that is not so much a solitary environment, but a tiny fragment of a universe: In this world, objects — such as a gleaming foil that changes colour in different lights — connect with the dancer to form moving installations. This creates the effect of seeing, and at the same time not seeing, her body, and the balling of the light that can expand into a space.
It is all rather ominous, a little unworldly, and over before you know it. Es ist eine lange und dichte Erinnerungsfahrt, auf die einen Stuart mitnimmt. Die Eltern sind krank, vielleicht sogar schon gestorben. Bis jetzt bildeten sie so etwas wie das Dach der Vergangenheit, jetzt muss man sich selbst eines bauen. Sie hat sich eine Erinnerungsbude gebaut. Trotz ihrer Gastspiele rund um die Welt musste sie zu Interviews regelrecht getragen werden.
Hat sie denn in den anderen 70 Jahren nichts erlebt? Und gesehen, wie sie das wirklich verlegen macht. Zwischendurch war Stuart halbnackt zwischen Zotteln vergraben. Impossible de tout saisir, la sarabande est multiple. Meg Stuart mistrusts words. She says so herself. It is worth trying to use many words, and expressing them as if each were of equal importance. You can incorporate images, sounds, movements and materials in this. You can show a great deal of all sorts of things behind, beside and layered on top of one another; mix fiction and truth, documents and moods, memories and dreams, the visible and the invisible, your own thoughts and those of others.
The key thing about Hunter is its idiosyncrasy, which it approaches in multiple phases. Meg Stuart as an artist, as a woman, and as a human being invites us to discover the world from the perspective of her questions and positions, but at the same time, to understand their origins. This is easy, indeed very easy to understand. For over twenty years, Meg Stuart has been working in the fields of dance and theatre on projects with a wide variety of forms and performance formats. However, Hunter is the first solo she has created for herself that is designed to fill a whole evening.
The idea of a solo, especially in the field of dance, can rapidly lead you astray. Her announcement that she intends to study her body as if it were an archive is also misleading. One can argue in many respects that Hunter is major piece and leans towards a Gesamtkunstwerk [total work of art]. In addition to the choreography on the stage, a number of other artists were involved with Hunter.
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