AZet Dance Company
The AZet Dance Company was a free dance group that was founded in 1994 by Ingrid Romani and Anselmo Zolla and was based in Kaiserslautern until 1998 . The group saw itself as a representative of contemporary dance . In addition to the core ensemble consisting of four dancers, artists from other disciplines (music and drama) also contributed to various pieces and performances.
In the four years of its existence, the group performed over 60 times in Germany (33 of them in Kaiserslautern) and had over 20 appearances outside of Germany, including in Brazil , Venezuela , Hong Kong and the People's Republic of China .
ensemble
The dance group was formed around the choreographer Anselmo Zolla, whose initials gave the group its name. The dancers included Dilenia Reis, Etsuko Akiya, Michael Langeneckert and Tung Hon, who were active as dancers in the Kaiserslautern Palatinate Theater. Tung Hon resigned in 1997, Elmer Domdom danced for him. These five dancers formed the core ensemble. In addition to Anselmo Zolla, Tung Hon, Michael Langeneckert, Peggy Woo and Etsuko Akiya choreographed.
The musicians who accompanied the group time and again included the singers Hlín Pétursdóttir and Ranveig Eckhoff, the guitarist Heiko Plank and the composer and drummer Tobias Kästle. The following also appeared for the AZet Dance Company: Maudy-Ann Esser (dance), Peggy Woo (dance), Sara-Ann Bocek (dance), Katelijne Philips (dance), Sigrid Reisenberger (dance), Eva Weissenböck (dance), Henrick Kaalund (dance), Charlotte Bell (dance), Mark Krause (dance), Dieter Hofinger (drama), Tobias Kästle (drums, composition), Uwe Sanders (piano), Christine Bender (oboe, English horn), Michael Gärtner (percussion ), Andrea Laszlo-Schwirtz (cello). The costumes were designed by Carla H. Haggray, Katrin Bobek, João Roberto de Souza and Anselmo Zolla. Claus J. Frankl, Boris von Poser and Claudia Rieger worked as dramaturges for various pieces. Ingrid Romani worked as an administrative manager on a voluntary basis.
Pieces
1994
- '' Minha Descoberta ''
- Choreography: Anselmo Zolla
- Dance: Dilenia Reis, Tung Hon
- Premiere: December 10, 1994, Kaiserslautern
- ''One moment''
- Choreography: Anselmo Zolla
- Dance: Etsuko Akiya, Michael Langeneckert
- Premiere: December 10, 1994, Kaiserslautern
- '' That Woman ''
- Choreography: Anselmo Zolla
- Dance: Dilenia Reis, Michael Langeneckert
- Premiere: December 10, 1994, Kaiserslautern
- '' Eagle Brothers ''
- Choreography: Anselmo Zolla
- Dance: Dilenia Reis, Etsuko Akiya, Tung Hon, Michael Langeneckert
- Premiere: December 10, 1994, Kaiserslautern
- '' Light without shadow ''
- Choreography: Tung Hon
- Dance: Dilenia Reis, Etsuko Akiya, Michael Langeneckert
- Premiere: December 28, 1994 in Kaiserslautern
1995
- '' In the Corner ''
- Choreography: Anselmo Zolla
- Dance: Etsuko Akiya, Dilenia Reis, Michael Langeneckert
- Premiere: May 17, 1995, Kaiserslautern
- '' NO CANTO ''
- Choreography: Anselmo Zolla
- Dance: Etsuko Akiya, Dilenia Reis, Michael Langeneckert, Tung Hon
- Premiere: June 15, 1995, Kaiserslautern
- '' Dreams ''
- Choreography: Anselmo Zolla
- Dance: Etsuko Akiya, Dilenia Reis, Michael Langeneckert, Tung Hon (later Elmer Domdom)
- Singing: Ranveig Eckhoff
- Guitar: Heiko Plank
- Premiere: December 14, 1995, Kaiserslautern
1996
- '' Crossers ''
- Choreography: Anselmo Zolla
- Dance: Dilenia Reis, Etsuko Akiya, Maudy-Ann Esser
- Singing: Hlín Pétursdóttir
- Premiere: March 23, 1996, Kaiserslautern
- '' Space ''
- Choreography: Tung Hon
- Dance: Tung Hon, Dilenia Reis
- Premiere: May 11, 1996, Kaiserslautern
- '' perhaps ''
- Choreography: Anselmo Zolla
- Dance: Etsuko Akiya, Michael Langeneckert
- Costumes: João Roberto de Souza
- Premiere: November 13, 1996, Kaiserslautern
- '' r. & j. - a story''
- Choreography: Anselmo Zolla
- Dance: Etsuko Akiya, Dilenia Reis, Michael Langeneckert
- Dialogue direction, dramaturgy: Claus J. Frankl
- Acting: Dieter Hofinger
- Singing: Hlín Pétursdóttir
- Music: Tobias Kästle (drums, composition), Uwe Sanders (piano), Christine Bender (oboe, English horn), Michael Gärtner (percussion), Andrea Laszlo-Schwirtz (cello)
- Premiere: November 13, 1996, Kaiserslautern
1997
- '' This is my place ''
- Choreography: Michael Langeneckert
- Dance: Etsuko Akiya, Dilenia Reis
- Premiere: March 30, 1997, Freiburg
- ''Have a good time!''
- Choreography: Etsuko Akiya
- Dance: Elmer Domdom, Michael Langeneckert
- Premiere: March 30, 1997, Freiburg
- '' Toy's Game ''
- Choreography: Peggy Woo
- Dance: Etsuko Akiya, Michael Langeneckert
- Premiere: March 30, 1997, Freiburg
- '' The body doesn't lie ''
- Choreography: Anselmo Zolla
- Directed by Boris von Poser
- Costumes: Katrin Bobek
- Dance: Etsuko Akiya, Dilenia Reis, Michael Langeneckert, Elmer Domdom, Tung Hon, Peggy Woo, Sara-Ann Bocek, Katelijne Philips, Sigrid Reisenberger, Eva Weissenböck, Henrick Kaalund
- Music: Tobias Kästle (drums, composition), Christine Bender (oboe, English horn), Michael Gärtner (percussion)
- Video: Video AG of the University of Kaiserslautern
- Premiere: July 4th 1997, Kaiserslautern
- '' Cenas Sem ''
- Choreography: Anselmo Zolla
- Dramaturgy: Claudia Rieger
- Dance: Charlotte Bell, Mark Krause
- Costumes: João Roberto de Souza
- Premiere: December 3, 1997, Kaiserslautern
1998
- ''Have a good time! - Part 2''
- Choreography: Etsuko Akiya
- Dance: Elmer Domdom, Michael Langeneckert
- Premiere: May 22, 1998, Kaiserslautern
Festivals, tours, dance evenings
The AZet Dance Company was invited to several festivals and organized two three-day festivals itself, at which choreographers and dance groups from Europe, South America and Asia presented their pieces.
Invitations to festivals
In Germany, the AZet Dance Company was invited to the 1996 dance festival in Augsburg and to the second Pfefferberger Tanztage in Berlin in January 1997.
Outside Germany, the AZet Dance Company was invited twice to festivals in South America, in July 1995 for the XX. Festival de Campina Grande in Campina Grande , Brazil and in December 1997 for the IV Festival Latinoamericano de Danza in Maracaibo , Venezuela . In June 1996 the dance group took part in the Hong Kong Movement Dance Festival.
Initiator of the Uni Modern Dance Festival Kaiserslautern
The AZet Dance Company initiated the Modern Dance Festival Kaiserslautern. The organizers were the studium integrale and the AStA of the University of Kaiserslautern .
First Uni Modern Dance Festival
The first Uni Modern Dance Festival took place from May 10th to 12th, 1996 in the Audimax of the University of Kaiserslautern. The following pieces were shown on the three evenings:
- '' Mamma Roma ''
- Choreography: Luca Bruni
- Dance: La Terra Nuova (Italy)
- '' Venezhvela ''
- Choreography: João Roberto de Souza
- Dance: João Roberto de Souza
- '' Space ''
- Choreography: Tung Hon
- Dance: AZet Dance Company
- '' Concertino ''
- Choreography: Olaf Schmidt
- Dance: Pfalztheater Kaiserslautern
- '' In the Corner ''
- Choreography: Anselmo Zolla
- Dance: AZet Dance Company
- '' Interlude ''
- Choreography: Jai Gonzales
- Dance: UnterwegsTheater Heidelberg
- '' Profiles ''
- Choreography: Glen Tacharow
- Dance: Amy Tacharow
- '' Low Version ''
- Choreography by Xing Peng Wan
- Dance: Yolanta Valeikaite
- ''Wish''
- Choreography: José Biondi
- Dance: dancers from the Frankfurt University of Music
Second Uni Modern Dance Festival
The second Uni Modern Dance Festival took place from May 22nd to 24th, 1998 in the Audimax of the University of Kaiserslautern. The following pieces were shown on the three evenings:
- ''Eclipse''
- Choreography: Ingo Reulecke
- Dance: Vanessa Kienast, Lydia Klement, Ingo Reulecke, Britta Schönbrunn, Odile Seitz
- '' De como un espacio invertido se convirtio en ... pescado ''
- Choreography: Elizabeth Rodriguez
- Dance: Elizabeth Rodriguez
- '' Gentleman song No. 3 ''
- Choreography: Jochen Heckmann
- Dance: Jochen Heckmann
- '' Unzipped ''
- Choreography: Richard Wherlock
- Dance: Cathy Sharp Ensemble, Switzerland
- with: Etsuko Akiya, Beatrice Goetz, Loya Molloy, Maria Pedreira, Kendra Walsh, Michael Langeneckert, Ismael Lorenzo, Dirk Poschidajew
- '' A moment with Glenn Gould ''
- Choreography: Stéphane Fléchet
- Dance: Stéphane Fléchet, Maida Kasarian, Dilenia Reis, Olaf Schmidt
- '' The old stone ''
- Choreography: Sabine Seume
- Dance: Sabine Seume
- ''Forever and ever''
- Choreography: Gregor Zöllig
- Dance: dance theater of the Osnabrück municipal theaters
- with: Sara E. Camm, Andreas J. Etter
- ''Have a good time! - Part 2 '' (premiere)
- Choreography: Etsuko Akiya
- Dance: AZet Dance Company
- with: Elmer Domdom, Michael Langeneckert
- '' Dal Amor y Otras Perversiones ''
- Choreography: Laura Rocha & Francisco Illescas
- Dance: Cia. de Danza BARRO ROJO AE, Mexico
- with: Maricarmen Uribe, Edith Maya, Laura Rocha, Jorge Alberto Pérez Salazar, Jose Luis Hernandez, Ignacio Santos, Ricardo Dias
- `` Anjos caidos '' (premiere)
- Choreography: João Roberto de Souza
- Dance: Delirium Teatro de Dança, Brazil
- with: Anna P. Zenha, Ap. P. da Silva Pedro, Benedita Maria Geraldo, Elsa BP de Souza, Guiomar F. Pasquini, Maria Ap. Alves Pereira, Maria Ap. B. Querido, Maria C. Carotta, Maria Natividade M. Dos Sanots, Maria Stella P. de Souza, Lúcia Vitto
- 'Loud! ''
- Choreography: Thomas Plischke
- Dance: Cia. Municipal de Danca de Caxias do Sul, Brazil
- with: Verónica Gomezjurado, Ney Moraes
- `` Buenos Aires, Tiempo Siempre '' (premiere)
- Choreography: Marisol Ferrari
- Dance: Azudanza
- with: Anette Prince, Andrea Prince, Johanna Añez, Morella Lopez, Marietta Zaccheddu
- `` Three Sisters ''
- Choreography: Robert Poole
- Dance: Robert Poole's Moving Words
- with: Aline Goeppert, Randi Liebnau, Katrin Wunderlich
Various workshops for contemporary dance were offered to accompany the pieces. The lecturer Dr. Claudia Jeschke from the Institute for Theater Studies at Leipzig University gave a lecture on “Dance styles as forms of communication. Physical Actions, Reactions and Interactions in Contemporary European Stage Dance ”. Gregor Zöllig, director of the dance theater of the Osnabrück municipal theaters, spoke on the subject of “Between tradition and modernity. What is choreography? Inspiration or craft? "
Tours
The invitation to Brazil for the XX. Festival de Campina Grande combined the group with a tour during which they performed a total of nine times in different theaters in Rio de Janeiro, São Paulo and Recife. The performance in Hong Kong was combined with a tour to Guangzhou in the province of Guǎngdōng, where the group performed on two evenings. The German Consul General was a guest in Guangzhou on this occasion. Including performances during the Hong Kong festival, the group performed a total of six times. In July 1997 the group toured Brazil again and performed in Araraguara , Porte Alegre , Santa Maria and Ribeirão Preto .
Dance evenings with other dance groups
At UnterwegsTheater Heidelberg in May 1995 the AZet Dance Company showed the piece '' In the Corner '' on two dance evenings, while UnterwegsTheater showed its piece '' Interlude '' during the first Uni Modern Dance Festival.
On February 20, 1997, the AZet Dance Company and Tanzwerk Nürnberg had a dance evening in the Audimax of the University of Kaiserslautern, where the choreographer Jean Renshaw showed her piece '' De Tijd '', which had premiered in Nürnberg a month earlier.
Funding, sponsors
With the exception of Heiko Plank, who works as a freelance guitarist, and Anselmo Zolla, almost all of the artists who worked for the AZet Dance Company were permanently employed at the Pfalztheater Kaiserslautern. Only through the generous exemption of the artists (of course only as long as their obligations to the Pfalztheater were not impaired) by the then artistic director Pavel Fiever and the choreographer of the Pfalztheater, Olaf Schmidt, was it possible for the dance group to rehearse and perform their pieces. As a rule, after the performances, the dancers received a two-, sometimes three-digit DM amount, which came from the box office receipts.
The state of Rhineland-Palatinate sponsored the dance group as part of the 1997 cultural summer with funding that the group had applied for.
The Kaiserslautern initiative kleinLaut made it possible for the dance group to perform in the '' stage under the roof '' and the '' Theodor-Zink-Museum ''.
The studium integrale of the University of Kaiserslautern provided the Audimax, while students of the Video AG continued to support the performances with the use of sound and light and for The body does not lie when using video.
During the two Uni Modern Dance Festivals, a total of over 70 dancers and choreographers had to be accommodated and provided with food and drink. This was only possible with the support of numerous hotels and restaurants in Kaiserslautern.
The tours to Brazil were financed by the Brazilian companies Jabal Aude, Canto Brasil and the Liceu Albert Samin.
Reception, meaning
Press
The press received the AZet Dance Company consistently positively, in some cases with pronounced enthusiasm. In Kaiserslautern, the dance group established itself as an integral and welcome part of the artistic scene. On December 30, 1994, Walter Mottl wrote for the daily newspaper Die Rheinpfalz in the very first sentence: “Kaiserslautern is richer by one ensemble.” Outside of Kaiserslautern, the group received an equally benevolent response in the press.
Style, classification
Both Anselmo Zolla and the dancers of the core ensemble had a classical ballet training and at the time of their meeting had also experience with contemporary dance. At no point was it in question that the group belonged to this dance style.
The themes addressed in the dance pieces included love, relationship conflicts, and self-expression (e.g. '' In the Corner, '' '' That Woman, '' '' Minha Descoberta, '' '' Eagle Brother '', '' r . & j. - a story '', '' perhaps '', '' This is my place ''), emptiness / flow ('' Space ''), everyday office life ('' Have a nice day! ''), femininity ('' Querer ''), drill ('' Toy's Game ''), dream worlds ('' Dreams '') and being a stranger ('' The body doesn't lie ''). Anselmo Zolla was able to win over and over again artists of other art directions (especially music, but also drama) for joint productions. He was concerned with the interaction between the various sectors, not with blurring the boundaries. Even if the dancers (especially Michael Langeneckert) are discussed in various pieces ('' In the Corner '', '' r. & J. - a story ''), the dancers were never and never profiled as an actor also not aimed at. The expression of emotional states desired by Anselmo Zolla should be performed by the dancers through dance. Anselmo Zolla programmatically expressed this attitude in the title of one of his last pieces as a choreographer for the AZet Dance Company: '' The body does not lie ''. While conflicts, injuries and the motive of being different were repeatedly taken up as themes by the dance group, the artistic event was primarily an aesthetic experience for the audience.
meaning
The dance group was able to win a steady audience in Kaiserslautern. While in the first year there were only about 30 people on average who came to the performances, this increased continuously to an average of 150 and more spectators.
Established dance groups such as Tanzwerk Nürnberg and UnterwegsTheater Heidelberg held dance evenings together with the AZet Dance Company, while dance companies from Germany, Italy , Switzerland , Venezuela, Mexico and Brazil attended the festivals organized by the AZet Dance Company .
In the four years of its existence, the dance group was actively involved in shaping the dance scene both regionally and nationally. With 18 productions, some of them full-length ('' Dreams '', '' r. & J. - a story '', '' The body doesn't lie '') she created a considerable repertoire. She was able to build a steady audience in her “hometown” and also convince an audience interested in dance as an art form outside of Kaiserslautern.
resolution
Already in November 1997 at the IV. Festival Latinoamericano de Danza in Maracaibo, Venezuela, the AZet Dance Company no longer took part with the dancers of the core ensemble. For the second Modern Dance Festival at the University of Kaiserslautern, which was organized by the AZet in May 1998 with a great deal of organizational effort, numerous dance groups could be won, but the AZet Dance Company only participated with one piece.
Anselmo Zolla choreographed in Heidelberg in 1998 as assistant to the acting director at the time and returned to his native Brazil in 1999, where he now works as the artistic director of the Studio3 ballet school in São Paolo, which has its own dance group. Michael Langeneckert worked as a freelance dancer and choreographer and is now a training manager at the Kassel State Theater . Tung Hon started a family and has a dance supplies shop in Frankfurt. Dilenia Reis also returned to Brazil and danced for the Balé da Cidade in São Paulo. Etsuko Akiya danced for various dance groups in Austria , Switzerland and Germany and has been teaching classical ballet in Japan since 2007 .
Web links
- On the wayTheater Heidelberg
- Heiko Plank
- Dance ensemble Cathy Sharp ( Memento from October 3, 2018 in the Internet Archive )
- Cultural summer Rhineland-Palatinate
- Pfalztheater Kaiserslautern
Individual evidence
- ↑ W. Mottl: Full commitment. In: Die Rheinpfalz of December 30, 1994
- ^ Rhein-Neckar-Zeitung of June 1, 1995. Wording: I dare to say that this sympathetic dance group will show development and profile.
- ↑ Mittenmang of January 30, 1997. Wording: The AZet Dance Company offered a furious guest performance.
- ↑ Kieler Tageblatt of March 18, 1996. Wording: “The AZet Dance Company transforms fantastic dream images into perfectly shaped movement and plays of light. The troupe from Kaiserslautern ... presented themselves to an enthusiastic audience. "
- ↑ Badische Zeitung of April 2, 1997. Wording: "... a delicious parody of every drill and a dance masterpiece."
- ↑ Flirting with the audience. In: Westfälische Zeitung of April 23, 1996. Wording: "... in a synthesis of modern expressive dance and classic movements ..."
- ↑ See the article by Birgit Roschy, based on an interview, “When the soul gets wings” in the Kaiserslautern city magazine pavillon, May 1996
- ^ Walter Mottl: Full-blooded and demonically beautiful. In: Die Rheinpfalz of August 28, 1995. Wording: Not even 30 lovers of this art form had come together for this contribution in the “kleinLaut” summer program.
- ↑ Heidelore Krause: Words dressed in tones, feelings in motion. In: Die Rheinpfalz of December 18, 1996. Wording: The enthusiastic final applause of the premiere audience in the sold out house ( Fruchthalle Kaiserslautern ) rewarded a successful experiment.