Eine Konzert-Performance von
Foteini Papadopoulou und Lukas Tobiassen

Barocke Musik von Georg Philipp Telemann wird in einem subtil choreographierten Konzert ungewohnt interpretiert, auseinandergenommen und zeitgenössischen Werke gegenübergestellt. Die Choreographin Foteini Papadopoulou und der Komponist Lukas Tobiassen erkunden die untrennbare Verbindung von Bewegung und Musik. Welche kleinen und großen Bewegungen stecken in jedem Instrument? Können wir Musik allein durch Bewegungen wahrnehmen?

Soundtrack zu:

LORDESS

Von THE GARDEN // performing arts

Physical Comedy
with Trygve Wakenshaw

director: Fabian Sattler
a Toboso production

Elektronische Live-Musik zu "Pulse" von Özlem Alkış

Vier Tänzer:innen kreieren einen immersiven Raum, der ständig unterschiedliche Intensitäten von Fluss und Pulsation offenbart. Die Zuschauer:innen, die im Aufführungsraum sitzen sind von Klang und Bewegung umgeben. Eingeladen mit Ohren zu sehen und Augen zu hören. Klang, Atem und körperliche Nähe der Performer viszeral zu spüren. Verteilt im Raum nehmen sich die Tänzer:innen Zeit ihre inneren Rhythmen und den gemeinsamen Puls der Gruppe zu finden. Das Bewegungsspiel von Sanftheit, Dichte und Geschwindigkeit entwickelt sich langsam. Der Raum verwandelt sich in einen pulsierenden Raum, der seine Rhythmen immer wieder neu bestimmt.

Choreografie, Künstlerische Leitung: Özlem Alkış in Zusammenarbeit mit den Performer:innen Elsa Artmann, Christoph Speit, Benze C. Werner, Philine Herrlein – Musikalisches, klangliches Konzept: Özlem Alkış – Musikalische Realisation, Komposition: Lukas Tobiassen – Technische Leitung: Dietrich Schuckließ

Soundtrack zum Tanztheater "Raincatchers" von Szene 2wei

Das Stück »raincatchers« trägt eine bedeutende politische Verantwortung, da es tiefe Einsichten und Be- fähigungen zu dem oben genannten Thema bieten möchte. Es geht somit über den bloßen Diskurs ebenso hinaus wie über die rein künstlerische Darbietung. Die Einbeziehung einer vielfältigen Gruppe von Menschen
mit unterschiedlichen Fähigkeiten in diesem Kontext ist zudem bemerkens- wert, da sie Fragen der Zugänglichkeit anspricht und die Vielfalt in jedem Individuum feiert. Dadurch wird ein wichtiges politisches Statement in den Fokus gerückt und die Bedeutung von Inklusion, Mixed-ability und Diversität in unserer Gesellschaft betont.

Cast & Credits
Choreografie: William Sánchez H.
Leitung: William Sánchez H. und Timo Gmeiner Tanz: Jörg Beese, Sonja Pfennigbauer, Ricarda Noetzel, Manuela Aranguibel, Jose Manuel Ortiz, Sander Verbeek
Musik: Lukas Tobiassen
Licht Design: Clément Debras
Bühnenbild und Kostüme: William Sánchez H. und Simone Müller

Musik und Soundtrack zum Theaterstück "Wundern" von Toboso

Premiere: 10.11.23 im Maschinenhaus Essen

live-performance with dance Cinthia Nisiyama inspired by the paintings of Piet Mondrian

music and sound design for Lisa Hellmich's dance solo "unapologetic synthetic"

In the unapologetic synthetic performance, Lisa Hellmich explores how the self-determined wearing of synthetic hair can be a performative sign for Unapologetic Blackness, and a new definition. Unapologetic Blackness is a concept that encourages Black persons to not apply any energy to the consideration of what white people might think of them. In dialogue with her hairdo, new movement qualities become possible that lead to a confident gesture of empowerment. The synthetic hair, in merging with one’s own, generates a body extension and takes up the space it deserves.

Lisa Hellmich is currently concluding her master studies in dance composition, movement notation / movement analysis at the Folkwang University of the Arts.

Concept, Performance: Lisa Hellmich; Music, Sounddesign: Lukas Tobiassen; Artistic Coaching, Dramaturgy: Robert Schulz; Outside Eye: Akasha Daley; Text-development: Lisa Tracy Michalik; Costume: Karen Afia

music for "bagpipes" based on Béla Bartok's piano étude "Bagpipe"
the dance piece is part of syncopated conversations by Frederico Mendes Teixeira

"Too fast; too slow; or something in between.

bagpipes is a study about TIME in dance. What happens to timing, when you change the energy of a movement? What happens to timing, when you change the origin of a gesture and its path in space?

The study was based on Béla Bartok's piano étude "Bagpipe" and its structural division of time. It contains two main sequences, that were broken down into smaller sequences and varied in length, energy invested, front, etc. There was also a division between the accompaniment and the melody, which was played according to the contact of the dancers' feet on the floor."

music for "dances for sevens" based on Béla Bartok's piano étude "Dance in Bulgarian Rhythm II"
the dance piece is part of syncopated conversations by Frederico Mendes Teixeira

music for dance performance by Lisa Hellmich

with Robert Schulz & Marius Ledwig

„Meine Haare sind nicht nur Haare.” Ihre Frisur ist für Lisa Hellmich als Schwarze Person immer politisch, gewollt oder ungewollt. In der Performance mesh-me geht es um ihre persönliche Beziehung zu Frisuren mit synthetischem Haar. Sie untersucht, welchen Einfluss das Kunsthaar auf ihre Identität und ihre Bewegungsqualität als Tänzerin hat. Wie wirkt sich das Kunsthaar auf ihre Selbstwahrnehmung aus und wie reagiert der Körper auf das zusätzliche Gewicht?

Musik for the youth theatre play "Ronja Räubertochter" with TOBOSO

music for "sincopados" based on Béla Bartok's piano étude "Syncopation"
the dance piece is part of syncopated conversations by Frederico Mendes Teixeira

"center-out; periphery-in; center to another center; outside and more expanded...

Where does a movement start and where does it travel to in the body? And how does this path change when you retrograde the movement? sincopados is a (tricky!) study about the different ways a movement travels through in the body when you start playing with come and go / back and forth.

The starting point was the creation of a sequence with simple movements, then adding accents and changes in speed. Then we looked deeper into what body parts were involved, what were the exact contact points. Having collected this knowledge, the idea was then to retrograde all the movements, as detailed as possible. During the process, we figured out that working with pauses was very helpful, therefore they stayed in the final choreography.

The structure follows: 9 counts of movements - 5 counts of retrograde - 4 counts pause (2x) 8 counts changes of placement in space 5 counts of movement - 5 counts of retrograde - 5 counts of movement and repeat!"

Music and sound design for the dance film "Suminoka" by Keisuke Mihara and Johannes Steidle

music and sound design for theatre by toboso

music (as Santiago 'Magic' Müller) and sound design for theatre by toboso

SUPER & ACTION Teaser from TOBOSO on Vimeo.

new piece with Foteini Papadopoulou at Maschinenhaus Essen

collaboration with Mieko Suzuki on music and live electronics for Hamlet at Schauspielhaus Bochum

Mit: Sandra Hüller, Stefan Hunstein, Mercy Dorcas Otieno, Bernd Rademacher, Dominik Dos-Reis, Gina Haller, Konstantin Bühler, Ulvi Teke, Mourade Zeguendi, Jing Xiang, Ann Göbel, Mieko Suzuki, Lukas Tobiassen

more info

WDR documentary

Lab.el.ID is a project created by artists from Greece and Germany. Professionals in the fields of theater, dance, electronic/algorithmic composition and media/visual art meet in Athens for two weeks in an intensive creative and experimental residency. They deal with the concept of cultural identity and its significance, especially in the context of mobility, internet connectivity, feeds, messages, tweets, and updates. The result of their collaboration will be presented in the form of an installative performance at KET on the 12th and 13th of October.

Sound design and live electronics for a piece by Eleanor Bauer and Chris Peck at Schauspielhaus Bochum

Konzept, Regie, Choreografie: Eleanor Bauer
Konzept, Regie, Musik: Chris Peck

more info

WDR documentary

...an seltsam lichter Stelle...

realisiert im EarPort Duisburg, Sonntag 28. Mai 2017 | 18.00 Uhr

Verhaltenskodex:

- handeln Sie nur auf Anweisung
- verlassen Sie die gekennzeichneten Pfade nicht
- verhalten Sie sich ruhig
- bleiben Sie immer in der Gruppe

"Stück für drei Tänzer" is a piece by is a performance by: Valentina Boneva, Liliana Ferri, Foteini Papadopoulou, Alejandro Russo, Lukas Tobiassen

director: Foteini Papadopoulou

PIECE FOR 3 DANCERS / Trailer from Foteini Papadopoulou on Vimeo.

for 4 channel tape and Performer

Duration: 12' - 13'

Permiered at EarPort in Combination with an installation of Johanna Meyer and Birte Lüderitz as Performer.

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There is also a fixed media version (duration: 8'26")

for 2 Performers

for Altoflute, Bass clarinet, Accordion, performer, lights and live electronics

inspired by "The Sleep of Reason Produces Monsters", an etching by the Spanish painter and printmaker Francisco Goya

Sound composition for the contemporary dance theater piece by Foteini Papadopoulou

as far as abstract objects / teaser 1 from Foteini Papadopoulou on Vimeo.

"What do you see, when you observe movement?"
Whether playfull real-time visualizations, elegant and invigorating dance phrases or space-filling sound installations: In as far as abstract objects the audience is confronted with an extraordinary stage situation. Each audience member views and experiences a different version of the piece. Under the observing eye of a refined media technology four performers search for intermedial spaces, perspectives and the way we perceive time and space through movement.

as far as abstract objects is a multimedia experience, in which body, sound and image meet and blend with each other in an unexpected way. 
Artists, scientists and technicians where challenged by choreographer Foteini Papadopoulou to catch the complex subtleties of movement, to modify them and - at the constantly shifting boarder between the abstract and the concrete - to artistically articulate them in a distinct way.

Sound composition for the contemporary dance theater piece by Foteini Papadopoulou

duration: ca. 70'

da wood in da furrr