Genesis, Eros, Thanatos

Idee und Konzept:
Eugene W. Rhodes III. + Walther Zimmerli

Eugene W. Rhodes III kennen wir von seinem Engagement als Tänzer im Ensemble des Stadttheaters Bern (2001 – 2003) und von seiner Mitwirkung als Tänzer bei den Berner Kompanies hermesdance und Marcel Leeman Physical Dance Theater. Seit 2009 leitet er die in Bern beheimatete Kompanie Third Dance und präsentiert nun seine eigene choreografische Arbeit, ein Solo, erstmals in der Dampfzentrale.
Am Anfang war das Wort – oder doch der Gedanke, die Idee? Der Wille, sich zu manifestieren, zu werden, zu existieren. In "Solo" stellt sich Eugene W. Rhodes III die Frage nach der Entstehung des ersten Lebens auf der Erde und fokussiert auf die Balance zwischen dem Bedürfnis nach Sicherheit und Kontinuität und dem Drang nach Veränderung, Wachstum und Entwicklung im Leben der Menschen. Inspirieren lässt er sich dabei von Elementen aus der griechischen Mythologie: Chronos frisst seine eigenen Kinder, um Veränderung zu vermeiden und Stabilität zu gewähren. Der Choreograf lädt die Zuschauer ein, durch den stark physischen Tanz in seine Gedankenwelt einzutauchen und nimmt sie mit auf eine abenteuerliche Reise zwischen Ordnung und Chaos, Beständigkeit und Wandel.

Choreographie und Tanz: Eugene W. Rhodes III.
Musik: Pierce Wyss
Bilder: Hans-Jörg Moning
Technik: Pablo Weber

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PERFORMANCES:


Premiere:
Samstag, 9. Februar 2013, 21.15 Uhr
Dampfzentrale Bern

Sonntag, 10. Februar 2013, 20.15 Uhr
Dampfzentrale Bern
   
     
 
  BLOOMING

Concept & Choreography by Eugene W.Rhodes III

Eugene W. Rhodes III. zeigt mit „Blooming“, welche metaphorischen Fähigkeiten der menschliche Körper besitzt, Sinn und Bedeutung auszudrücken. „Blooming“, in seiner Reinheit, belegt, dass Tanz ideal ausdrücken kann, wie sich Leben in der heutigen Zeit anfühlt. Damit trägt Third Dance, mit drei schwarzen Tänzern, dazu bei, ein neues Kapitel in der Geschichte des „Black Dance“ zu öffnen. Tanz, Choreographie und „Black Dance“ gehören zusammen; sie sind nicht austauschbar. Das ist der Reichtum und die Fülle der Globalisierung im Tanz. Mit „Blooming“ erkundet Eugene W. Rhodes III. die Begriffe Fluss, Dynamik, Spannung und Weite auf einer durch Licht strukturierten, einfachen Bühne. In dieser immateriellen und absoluten Stimmung erblühen Körper und Geist als surreale, anmutige Blumen. Die Unmittelbarkeit des Atmens bestimmt das Vokabular der Choreographie von „Blooming“. Die Musik schafft, auf der Basis strenger Rhythmen, Klänge und Atmosphären von besitzergreifender Schönheit.

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  Serve from the Right and Take Me from the Left

is an entertaining piece that will be presented as a live-action mini-drama. You will not only see the dancers individually through movement, but also you will hear what they have to say. The performance will take you on a journey to an exclusive dinner party beginning with the moment the guests come to the table to say cheers until the last drop is left in the bottle.

"Serve from the Right and Take away from the Left" is not only infused with humour, you may also find some disquieting moments – for instance, some people do not allow certain behaviours at their dinner party. In this "mini-drama" you will uncover that remains hidden under the rug long after the party has ended.

Each character will portray a specific fashion and personality stereotype such as:
The formal and over the top; the outrageous, business class; and the simple and careless. Each character will have its own identity, giving you a strange and bizarre view of each character's etiquette.

The music will travel through many different generations and genres - from Bach and Beethoven to Erika Badu and Jill Scott. Not only will you enjoy the Boggie but you will be eager to jump to some Disco Jive. And once you get your hot shot of B 52 you'll be rolling on the floor like Martha Graham.

I as the creator, I intend to show proper manners and polite etiquette, and slowly transform the stage with many different bottles. For example, the Apero always starts with a polite smile asking, "How do you do?" and "What's new?" The dinner wine (Saint Agostino) will leave you wanting more and more. Finally, a small glass of grappa (Julia) goes with the desert and an espresso to help digest the whole evening.

Photo and video (C) 2009 by Oliver Neubert
   
     
 
  Lace

Four dancers performing multifarious aspects associated with "lace". Though the performance includes neo classical elements, we may expect a colourful collage of different dance styles and theatrical inputs which mark Eugene Rhodes' III boundless and imaginative choreographies. The performance is not telling a story, though it includes fractions of stories and ideas and leaves ample room for personal interpretation of the viewer.

The dancers are accompanied by a live string quartet playing classical music, and each dancer is dancing to and led by their own instrument. There are solo performances, which are guided by their personal instruments into duos, and finally the full harmony of the intricate quartet.

"Lace" can mean intricate patterns of precious material, with hours of painstakingly accurate and artful stitching. In olden times, women would spend hours by the window or bent over in the meagre light of scarce candles. It was a social or a lonely occasion. Poor and rich women would indulge producing their own precious patterns.

"Lace" has been produced under the most various circumstances, all over the world. Like expensive hand-woven Persian carpets, lace often was considered valuable, and in some parts of the world that white precious equivalent of money was an important part of a dowry. It would prove that the women to be wed would be patient, persistent, humble, gifted, and – last but not least, rich, as she would be able to invest so many hours lace-making, and not doing household chores.

"Lace" has been used for veils, in wedding dresses, traditional garb, and almost exclusively on special occasions. It is thus comparable to a peacock's feathers, a showing-off of erotic potential, of status, of identity and background.

"Lace" can be associated with meditation, secrets, the passing on of traditions. From hidden farms in the Swiss valley of the Emmental, from Appenzell and St.Gallen to the voodoo traditions of Creole women in Louisiana, lace is found everywhere, lingering about innocently, gathering dust on old chests and drawers, yet creeping up on us silently, like women's own global DNA. Who knows what hidden messages are to be found in lace patterns? The female equivalent to the Da Vinci Code?

Yes, one might think those humble lace-making women have had but pure thoughts and possessed virginal hearts, but we can be sure that in many alace-producing woman lingered thoughts of revenge, of shattering their social prisons, as the movie "Arsenic and Old Lace" lets us imagine.

- by Walther Zimmerli, Bern

   
     
 
 
   
 
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