Editta Braun Company

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The editta braun company is a dance company founded by Editta Braun in 1989 in Salzburg (Austria) .

Since its founding, the company, which consists of a team of international dancers, composers, dramaturgists and lighting designers, has been developing new stage productions from the fields of contemporary dance, dance theater and physical theater every year. With its expressive and theatrical style, its socio-political orientation and its further development of the body illusion theater ( Luvos series), the editta braun company has gained international renown and received several artistic awards.

development

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The foundation of the Company followed the creative process the choreographer in the framework of which she founded and Beda Percht artist group operations , which worked until 1990: From a force politically engaged student athletes, the collective had 1982 operations developed the next Beda Percht and Editta Braun u. a. Wolf Junge, Ekke Hager, Anna Hauer, Marion Hackl and Annette Mäser were members. The collective processes are considered to be the founding generation in Austria and with its form of movement theater has decisively shaped the development of the contemporary Austrian dance landscape. The international breakthrough came in 1986 with Lufus: "To the music of Art Zoyd, Lufus was a 20-minute piece of the legs and the buttocks. Almost completely naked, the bodies burrowed into the earth, formed artistic structures. Rhythmic stamping and the bringing together of the individual limbs condensed the atmosphere into an ingenious group spirit. ". The piece was filmed by ORF , took part in the Concours chorégraphique International de Bagnolet in 1986 in Paris and there won - together with Saburo Teshigawara - the prize for the most innovative choreography. After the collective was dissolved, the members developed in different directions. Editta Braun founded her own company in 1989, the editta braun company - "not a permanent ensemble, but continuous work with a few people", as Andrea Amort wrote in 2001.

From the very beginning, the company's work was shaped by two different directions: On the one hand, an explicitly politically committed approach to topics such as intercultural communication, e.g. B. Voyage à Napoli (1994), manifest (2002), Coppercity 1001 (2007), close with art (2011), currently residing in (2013), ways of peaceful coexistence, e.g. B. King Arthur (2010), trails (2018) and feminist issues, e.g. B. Collision (1992, with Jean-Yves Ginoux), La vie, c'est contagieux (1994, with Jean Babilée), Heartbeat (1997, with Thierry Zaboitzeff), Eurydike (2004), Paula (2014). On the other hand, the company's style of movement, which combines powerful, sporty-dynamic with lyrical-poetic-delicate movement qualities, results in a profound search for the limits of the physical possibilities of the human body. With Lufus , the processes in the reduction to individual body parts tried to make the human body forget, with Luvos, vol. 2 (2001), planet LUVOS (2012) and Close Up (2015) or Close Up 2.0 (2017) and Fanghoumé (2019), this type of body illusion theater was continued.

From 2002 the company also turned to the language on stage, the performers began to speak and dare to approach a wide variety of text types: for example a sociological, scientific text by Manfred Wöhlcke about social entropy ( manifest , 2002) or a literary one Texts about the Arthurian myth (2010). For Eurydike (2004) the Austrian writer Barbara Neuwirth wrote a play for the ensemble, which was commissioned by the Brucknerfest Linz as a three-part play (chamber orchestra, drama ensemble, dancer ensemble) . The collaboration with the Egyptian director Mahmoud Aboudoma and his ensemble of Egyptian actors resulted in the cross-disciplinary and cross-cultural play Coppercity 2001 , an adaptation of one of the stories from 1001 Nights , which in the following years became festivals in the Near and Middle East, in the Maghreb and was also invited to Pakistan.

In search of new forms of cooperation and expression, the company expanded the cast of artistic directors from 2004 by collaborating with directors and choreographers (Arturas Valudskis, Rebecca Murgi, Shlomo Bitton, Teresa Ranieri, Mahmoud Aboudoma, Robert Pienz, Iris Heitzinger).

After changing musical partners in the first years of the editta braun company (Peter Angerer, Stefan Schubert, Rudolf Habringer live on stage, Peter Valentin as composer) and recourse to various classics and contemporaries, the French composer and musician Thierry Zaboitzeff has accompanied all productions since 1997 the editta braun company. He creates sound paintings, which also exist as independent musical works and for the most part have been published on albums. The collaboration with the editta braun company with Thierry Zaboitzeff, which has existed for over 20 years, is an artistically highly fruitful symbiosis.

The lighting designers Thomas Hinterberger and Peter Thalhamer finally create very specific light and color spaces (for example essential for the functioning of the pieces in Luvos, vol. 2 , planet LUVOS, King Artus , Paula and Close Up ).

The "Luvos" range

editta braun company: Luvos, Vol.2 performance photo Jo Grabowski

In the meantime six pieces from the Luvos series of Lufus of the collective operations (premiered 1985) on Luvos, vol.2 (editta braun company, 2001) on planet Luvos (ebc 2012) and Close Up (ebc 2015) or Close Up 2.0 (ebc 2017) to Fanghoumé (ebc 2019), is reflected in the continuous research by Editta Braun and her company on the visual overcoming of body boundaries through an innovative body illusion theater. 

Luvos, vol.2 was premiered on July 18, 2001 at the Summer Scene Festival in Salzburg and performed between 2001 and 2012 in front of a total of around 15,000 spectators. Some of the stops were Jerusalem and Tel Aviv, Thessaloniki, Novosibirsk and Moscow, Marseille, Limassol and Nicosia, Brussels, Tallinn, Kaunas, Riga, Vienna, Salzburg and Linz. The next version of the Luvos theme premiered here on September 27, 2012 as part of the Bruckner Festival : planetLUVOS .

With the exploration of this special aesthetic of a purely female body theater, which went hand in hand with the establishment of a veritable Luvos ensemble of dancers specializing in this repertoire of movements, the company goes beyond the boundaries of conventional contemporary dance and dance theater. This is also shown by the fact that the productions Luvos, vol.2 (2012) and planetLUVOS (2014) as well as Close Up (2016) were invited to the manipulate festival in Edinburgh. The inclusion of live music (concert pianist) in the two Close Up versions also opens up the “Luvos” series to an interplay of synaesthetic elements.

ensemble

1997, Heartbeat, editta braun company

The creative work process of the editta braun company is determined by the collaboration of artists from different disciplines: dance, acting, composition, directing, writing, dramaturgy, video, lighting design.

In the long years of the company's existence, many outstanding artists have contributed their creative potential, in the beginning especially Celine Guillaume and Georg Blaschke as well as the French dancer and choreographer Jean Babilée , for whom Jean Cocteau and Roland Petit wrote the piece Le jeune in 1946 homme et la mort had created. This collaboration also promoted international awareness of the company. The composer Peter Valentin contributed the compositions during this time.

Since 1997, a good part of the company's uniqueness has been based on the compositions of Thierry Zaboitzeff , composer of the Linzer Klangwolke 2011, which despite all their diversity contribute a specific and recognizable color and enable the communication between music and theatrical, moving images so typical for the company.

For ten years the dancer Barbara Motschiunik contributed to all productions, from 2006 Anna Maria Müller and Tomaz Simatovic joined the group. They are responsible for a boost in international importance and thus extensive touring trips. From 2010, the profile of the actors will be rejuvenated. With Iris Heitzinger, Dante Murillo, Martyna Lorenc, Jerca Rožnik Novak and others, a young generation is growing again.

The powerful lighting designs by Thomas Hinterberger and Peter Thalhamer, as well as the dramaturgical support by Gerda Poschmann-Reichenau, are also shaping the style of the editta braun company.

Artistic style

The style of the editta braun company is dynamic and sporty on the one hand, and politically committed on the other. There are great theatrical gestures and the creation of strong, moving images alongside humorous interjections. Emotional closeness to the audience is sought with the most diverse means of the performing arts: music, building and breaking of tension arcs, sometimes opulent costumes, lighting design, whereby the comprehensibility and "legibility" of the stage events in different cultural contexts appear important. Music and lighting design are therefore always an essential part of a production and shape the artistic expression of each piece to a very large extent.

Touring

The editta braun company tours Europe, Asia, Africa and is a guest at renowned and unusual festivals.

Works

  • 1989: The Hunt - Quintet.
  • 1990: Materials for dance & music - dance and live music.
  • 1991: Collision - duet with Jean-Yves Ginoux.
  • 1992: but kind old sun will know ... - dance theater.
  • 1993: La vie, c'est contagieux - dance theater with Jean Babilée.
    • Collision - dance short film.
  • 1994: Voyage à Napoli - Dance & Rock'n Roll live.
    • La Vie, c'est contagieux - video documentation on the creation process of the play.
  • 1995: Titania - picture in motion to Sisi, Empress of Austria, Queen of Hungary, duet with Celine Guillaume.
  • 1996: In the pianist's jungle - dance fable for young people.
  • 1997: Heartbeat - concerto for dance & music, op. 1 - Duo music and dance with the musician and composer Thierry Zaboitzeff.
  • 1998: India - originated in South India.
  • 1999: Miniatures - dance and live music, commissioned for the opening party of the Salzburg Festival.
  • 2000: Nebensonnen - Quartet.
  • 2001: Luvos, vol. 2 - Quintet, body illusion theater.
  • 2002: manifest - acting, dance and martial arts; originated in Senegal.
    • editta braun company in Dakar - video documentation on the development process of the stage play manifest.
  • 2003: Tajine - improvisation project with dance, drama, live music.
  • 2004: Eurydike - symbiosis of three branches for the play Eurydike by Barbara Neuwirth.
  • 2005: oXalis - originated in Greece and Austria.
  • 2006 Eurydike revisited - commissioned work for the Carnuntum World Theater Festival.
  • 2006: Matches of Time - dance theater; originated in Italy and Austria.
  • 2007: Coppercity 1001 - drama and dance; originated in Egypt and Austria.
    • e.poration - short film.
  • 2008: Once I'm dead, I'll go to paradise - dance and live music.
  • 2009: Offside - dance theater; originated in Portugal and Austria.
  • 2010: King Arthur - dance and drama.
  • 2011: No more art - dance and drama.
  • 2012: planet LUVOS - dance and body illusion theater.
  • 2013: currently residing in - dance theater, solo.
  • 2014: Paula - Solo.
    • instant - surprise performance.
    • 4plus1 - performance.
  • 2015: close up - piano concert with Aysedeniz Gökcin and physical theater.
  • 2016: LoSt - dance theater, duo.
  • 2017: Close Up 2.0 - piano concert with Cécile Thévenot and physical theater.
    • 4only - quartet.
  • 2018: trails - dance theater, quartet using images from the film "Homo sapiens" by Nikolaus Geyrhalter.
  • 2019: Fanghoumé - body illusion theater
  • 2019: Layaz - dance duo Urban Dance

Prices

  • 1986: Second prize and prize for the most innovative choreography at the Concours Chorégraphique International de Bagnolet in Paris for Lufus of the collective processes
  • 1995: Bronze medal at the New York Film Festival for Collision , directed by Othmar Schmiderer
  • 2001: Award for best director at the Cairo International Festival for Experimental Theater for Nebensonnen
  • 2014: International Prize for Art and Culture of the City of Salzburg
  • 2017: Great Art Prize of the State of Salzburg

literature

  • Edith Wolf Perez: "Honored: Editta Braun". http://www.tanz.at/index.php/magazin/people/1880-geehre-editta-braun , accessed on May 18, 2019
  • "Editta Braun - The Rebel". In: Caroline Kleibel: Stage Women . Linz: Fram-Verlag, 2001. pp. 45-57.
  • Editta Braun: "Levitations". In: Rudolf Habringer, Josef P. Mautner (Ed.): The goblin of dreams . Vienna: Picus, 2006, pp. 157–160.
  • Gerti Krawanja: "The Alpha Woman". In: Echo, March 2008, pp. 68ff.
  • "Great State Art Prize for Editta Braun". Salzburger Nachrichten, October 9, 2017. https://www.sn.at/salzburg/kultur/grosser-kunstpreis-des-landes-fuer-editta-braun-19096552 , accessed on May 19, 2019.
  • Austria dances: past and present . Edited by Andrea Amort and Mimi Wunderer-Gosch. Vienna: Böhlau, 2001.
  • Ditta Rudle: "A wild bumblebee". In: Echo 03/2008, pp. 68f.
  • Dance art life. 20 years of the editta braun company . Edited by Gerda Poschmann-Reichenau and designed by Bettina Frenzel. Norderstedt: Book on Demand, 2009.

Web links

Commons : Editta braun company  - collection of images, videos and audio files

Individual evidence

  1. ^ Editta Braun Company. Retrieved June 9, 2019 .
  2. ↑ Andrea Amort, Mimi Wunderer-Gosch (Hrsg.): Austria dances: history and present . Böhlau, Vienna 2001, ISBN 3-205-99226-1 , p. 158 ff .
  3. ↑ Andrea Amort, Mimi Wunderer-Gosch (Hrsg.): Austria dances: history and present. Böhlau, Vienna 2001, ISBN 3-205-99226-1 , p. 159 .
  4. ↑ Andrea Amort, Mimi Wunderer-Gosch (Hrsg.): Austria dances: history and present . Böhlau, Vienna 2001, ISBN 3-205-99226-1 , p. 160 f .
  5. ↑ Ilse Retzek: "Types at the train station" . In: Upper Austrian news . November 17, 1994, p. 84 f .
  6. ↑ Ursula Schupfer: "Apocalypse no" . In: Salzburger Nachrichten . Salzburg December 5th, 2002.
  7. ↑ Gerda Poschmann-Reichenau (Ed.): Dance Art Life: 20 years of the editta braun company . Books on Demand, Norderstedt 2009, ISBN 978-3-8370-9762-7 , pp. 96-103 .
  8. ↑ Karl Harb: "Just don't let it get you down" . In: Salzburger Nachrichten . October 10, 2011.
  9. ^ Ditta Rudle: Editta Braun Company: "Trails", Kosmos Theater. In: tanzschrift.at. March 23, 2019, accessed May 19, 2019 .
  10. ^ Jeanne Dumont: L'Homme et sa solitude . In: Luxemburger Wort . July 15, 1992.
  11. ^ Gilberte Cournand: "La vie c'est contagieux" . In: Les Saisons de la Danse . Paris June 1994, p. 21 .
  12. ↑ Sebi / Konstanze / Krissi / Ingrid: "Palpitations" . In: Sommerszene Salzburg (ed.): Albert . Salzburg July 13, 1997.
  13. ↑ Karl Harb: "On the death ship" . In: Salzburger Nachrichten . September 25, 2004.
  14. ^ Eveline Koberg: Editta Braun Company and Iris Heitzinger: "Paula". In: tanz.at. September 24, 2016, accessed May 18, 2019 .
  15. ↑ Andrea Hein: "Brave New World!" In: Neue Kronenzeitung . July 28, 2001.
  16. ↑ Karin Schütze: "What will remain is bigger than the human being" . In: Upper Austrian news . 29th September 2012.
  17. ^ Ditta Rudle: Editta Braun Company - Kosmos Theater. In: tanzschrift.at. October 3, 2015, accessed May 19, 2019 .
  18. ↑ editta braun company productions: Close Up 2.0. Retrieved May 18, 2019 .
  19. ↑ editta braun company productions: Fanghoumé. Retrieved May 18, 2019 .
  20. ↑ Manfred Wöhlcke: Social Entropy: Civilization and the way of all flesh . dtv, Munich 1996, ISBN 3-423-04687-2 .
  21. ↑ editta braun company archive: King Arthur. Retrieved May 18, 2019 .
  22. ↑ Copper City 1001. Retrieved June 9, 2019 .
  23. ↑ Gerda Poschmann-Reichenau (Ed.): Dance Art Life: 20 years of the editta braun company . Books on Demand, Norderstadt 2009, ISBN 978-3-8370-9762-7 , pp. 96-103 .
  24. ↑ All dates: Burgenland.at. Retrieved June 9, 2019 .
  25. ^ David Guttner: editta braun company: Close Up 2.0 - klagenfurterensemble. Accessed June 9, 2019 (German).
  26. ↑ Gerda Poschmann-Reichenau (Ed.): Dance Art Life: 20 years of the editta braun company . Book on Demand, Norderstedt 2009, ISBN 978-3-8370-9762-7 , pp. 48-52 .
  27. ↑ editta braun company Bios: Company. Retrieved May 18, 2019 .
  28. ↑ 25 years of editta braun company: "planet LUVOS". ARGEkultur Salzburg, February 26, 2014, accessed on May 18, 2019 .
  29. ↑ editta braun company productions: Fanghoumé. Retrieved May 18, 2019 .
  30. ↑ editta braun company: Luvos, vol. 2. In: editta braun company. editta braun company, accessed July 29, 2019 .
  31. ↑ diverse: Tag Archives: editta brown. In: manipulate festival blog. manipulate Visual Theater festival, February 15, 2016, accessed July 29, 2019 .
  32. ↑ David Guttner: editta braun company: Close Up 2.0. In: klagenfurterensemble. klagenfurter ensemble, March 2, 2018, accessed on July 29, 2019 .
  33. ↑ Celine Guillaume: "Memories, tons of" . In: Gerda Poschmann-Reichenau (Hrsg.): Dance Art Life . bod, Norderstedt 2009, ISBN 978-3-8370-9762-7 , p. 112 f .
  34. ↑ Georg Blaschke: georg blaschke and editta brown: first steps, advanced memories . In: Gerda Poschmann-Reichenau (Hrsg.): Dance Art Life . bod, Norderstedt 2009, ISBN 978-3-8370-9762-7 , p. 110 f .
  35. ^ Marie-Christine Vernay: Jean Babilée: Le jeune homme et la vie . In: Liberation . Paris March 18, 1994.
  36. ^ Gilberte Cournand: La vie c'est contagieux: Le credo de Jean Babilée . In: Les Saisons de la Danse . Paris June 1994.
  37. ↑ editta braun company Touring or archive. Retrieved May 18, 2019 .
  38. ↑ Andrea Amort, Mimi Wunderer-Gosch (Hrsg.): Austria dances: history and present . Böhlau, Vienna 2001, ISBN 3-205-99226-1 , p. 159 .
  39. ↑ Othmar Schmiderer: Collision. Retrieved May 18, 2019 .
  40. ↑ Director's award for Editta Braun. In: tanznetz.de - das tanzmagazin. Retrieved May 18, 2019 .
  41. ^ Peter Krackowizer: Culture Fund Awards of the City of Salzburg. In: Salzburgwiki. November 15, 2017, accessed April 1, 2019 .
  42. ^ SN: Great State Art Prize for Editta Braun. In: Salzburger Nachrichten. October 9, 2017, accessed April 1, 2019 .