(T)HERE AND AFTER

infinite possibilities for new beginnings

Alexandra Waierstall and her seven dancers team up with visual artist Marianna Christo­fides and compo­ser HAUSCHKA to probe the geo­logical and eco­logical layers of (post-) humanism

Together they create a sonorous and physical landscape that gives rise to infinite possibilities for new beginnings.

Each sequence of movement draws on the preceding one as it subsides and is then rekindled with the energy of the ephemeral present in one flowing breath. In this way, “(T)here And After” is able to conjure up poetic moments of a new manmade era despite all of its warnings of mankind’s impending, self-induced demise.

“(T)here And After” ties in intimately with her latest pieces “A CITY SEEKING ITS BODIES” (2015) and „And here we meet“ (2016).

(T)HERE AND AFTER


Premier: 24 – 26 NOVEMBER 2016, tanzhaus nrw, Düsseldorf, Germany
Duration: 55 min.
People on tour: 10

Choreography, concept: Alexandra Waierstall; Composition: Volker Bertelmann/ HAUSCHKA; Performance and collaboration: Dani Brown, Evangelia Randou, Harry Koushos, Eldad Ben Sasson, Damien Fournier, Renan Martins; Video: Marianna Christofides; Light design: Ansgar Kluge; Sound design: Michael Buchholz, Ansgar Kluge; Costumes, stage: Alexandra Waierstall, Horst Weierstall; Management: Judith Jaeger

Production: Alexandra Waierstall; Coproduction: tanzhaus nrw, Dance Ireland, Dance Gate Lefkosia Cyprus; With support of: Kunststiftung NRW, Fonds Darstellende Künste e.V., Kulturamt der Landeshauptstadt Düsseldorf; Garage Performing Arts Center

there-And-After-uebersicht

(T)HERE AND AFTER


Reviews

„They convince through intense expression and emotionally charged new dance, through body-twist/bends, then again by mechanical movements and gestures.“
Max Kirschner, Westdeutsche Zeitung, 26.11.2016, translation: Alexandra Waierstall

“Where her works “A City Seeking Its Bodies” and “And Here We Meet” were quite spectacular, “(T)here And After” is more complex and filigree. […] Together with Marianna Christofides, Waierstall has not only maintained her distinctive movement language, but also further developed it in its aesthetics… […] The dancers are pushed to the limits of their physical condition in order to create situations between the end of the world, the new beginning and poetry. Without a sense of direction, they find themselves in new orders which, after only a few attempts, do not appear to exist, cumulate into cell groups which burst apart in ever-increasing aggregate states, or find themselves in tormenting loneliness of solitude which causes them to float on the ground. […] Now it is no longer just about the time after the explosion or explosion of all systems, but also about how we want to deal with each other in the future. Perhaps the more helpful, time pressuring question… At last an exhausted but over enthusiastic applause begins. These were – clearly – successful 50 minutes, to which the choreographer and her team may be proud.” Michael S. Zerban, Opernnetz, Magazin für Musiktheater, www.opernnetz.de, 26.11.16, translation: Alexandra Waierstall

„They surprise you in suddenly changing light shades – from glaringly bright to semi-dark, gloomy and dark. […] Aesthetically, Waierstall composed the scenes that live from permanent change.“ Max Kirschner, Westdeutsche Zeitung, 26.11.2016, translation: Alexandra Waierstall