Company Christoph Winkler Productions
Portrait of a Child, 2019, Duo, 60 Min.
A Hey A Ma Ma Ma! examines the ideas of "traditional" and "contemporary" dance, both in Uganda and Africa as a continent, and shows how the postcolonial situation influences culture in Western and African countries. view
Installative Performance, 2019
Great voices, great emotions, and an often tragic ending - that is what people think opera is all about. But it can be so much more! The performance The Voice That You Are is an examination of the voice: the dramatic voice of musical theatre in relation to the diversity of Dortmund and the voices of its citizens. view
in collaboration with the Zafraan Ensemble, 2018, 7 Dancers
Taking the history of minimal music and contemporary dance into due account, Christoph Winkler translates three of Eastman’s pieces – "Gay Guerilla", "The Holy Presence of Joan d’Arc" und "Femenine" – together with international guests into a choreography that concentrates on the rhythmic qualities and political objectives of Eastman’s music. What inspirations could dance have drawn from Eastman’s work if it had become part of the musical canon? view
age 9 and up, 2018
Christoph Winkler’s second piece for a young audience addresses the same topics of interest that also fuel his choreographic works for adults: the relationship between language and dance, the ways in which everyday movements become dance and the role of diversity in society. view
A Tanzfonds Erbe Project, 2018, Reconstruction
“The Complete Expressionist – A Tanzfonds Erbe Project” looks at the story and legacy of choreographer, electronic music composer, improviser, dance therapist, and pedagogue Ernest Berk in a long-overdue reconstruction of his dance pieces and performances of selected musical compositions in form of live tape concerts. view
This series of short choreographies highlights white hegemony in a genre lauded for its internationality. Yet while post-colonial structures are just as present in contemporary dance as in other art forms, they are often more difficult to discern. Why has there recently been so much talk of African contemporary dance, while we never use the term "European contemporary"? Tacitly, Western concepts are declared the norm. These pieces cheerfully, but critically reveal the various ways that contemporary dance is marked by dominance and privileges grounded in white experience. view
Or 7 Differences Between Classical Chinese Dance and Ballett, 2016, Solo
Based on an essay by Kishore Mahbubani about the relationship between Asian culture and Western civilization, the solo questions and applies his theories to the relationship between ballet and classical, Chinese dance. view
The relationship between choreographer and dancers has noticeably changed over the last few years. Forms of participatory work and a general emancipation of the dancers have become part of everyday life in contemporary dance. view
2015, 6 Dancers
Twelve golden stars on blue grace the European flag. The official EU hymn is only a little over a minute long. Based on these two symbols, the project “Golden Stars on Blue” explores the idea of community. Can we define community as a space for communication among equals? view
2014, Solo, 70 Min.
The holy grail of German theater tradition, the dream of every actor and actress, the exclusive casting right of dramaturges and theater directors: the lead role! But what if skin color and family background supposedly aren’t suited for the job? Siegfried, Faust or Woyzeck? A dance solo about the visibility of performers of color on German stages. view
A TANZFONDS ERBE Project, 2014, 120 Min.
One title, three choreographers: Christoph Winkler’s Abendliche Tänze deals with the process of remembering the eponymous pieces by Mary Wigman and Tom Schilling. As a continuation of these works and in collaboration with an international cast of dancers, he has developed a third piece that follows its own subjective logic and reveals itself in the piece. In the search for forms of artistic examination of historical works beyond reconstruction: memory as an active attempt to see the world in a new light. view
2013, 4 Dancers, 95 Min., 12 x 12 Meter
There is no exact moment of disaster. The world simply falls to pieces bit by bit. Why not create a concrete opportunity to dance. A catastrophe, a miracle, a bang: DANCE IS NOT ENOUGH. If I can't dance, I won't be part of your revolution. view
2013, 4 Dancers, 70 Min., 14 x 12 Meter
Women are increasingly active in ring-wing movements. For a long time, they were merely treated as subordinate companions, as insignificant housewives and mothers. But today every fifth neo-Nazi is female and every tenth radical right-wing offence is committed by a woman. "RechtsRadikal” addresses this development and explores various forms of physically expressing the extreme drama of the radicalized right-wing female body. For ring-wing ideology truly is extreme, both on the surface and in the soul. This show is suitable for English speakers. Trailer: http://www.tanzforumberlin.de/trailer583.php view
2012, 4 Dancers, 70 Min., 9 x 11 Meter
"Dance! Copy! Right?" is based on a concrete copyright trial at the district court Nürnberg/Fürth to which Christoph Winkler was summoned as an expert witness. Taking this court case as its starting point, the production will explore fundamental problems and questions concerning copyright and intellectual property: view
2011, Solo, 60 Min., 10 x 10 Meter
“Baader – A Choreography of Radicalisation” is the second piece in a series entitled EVIL BODIES exploring the representation of “evil” characters in dance. After investigating individual elements and strategies of such representations of evil in the first part of the EVIL BODIES series, Christoph Winkler now turns to focus on a concrete persona of recent history: German terrorist Andreas Baader. view
2011, 5 Dancers
In "Böse Körper" ("Evil Bodies"), Christoph Winkler approaches the interpretation of "evil" characters through dance: In theatre and film, the embodiment of persons and characters through other persons is the norm - it’s the domain of acting. Many actors love to play those "evil” characters because they promise to be challenging and interesting. Dancers seem to be reluctant to loan out their bodies - because you are in fact always this body. view
2010, 3 Dancers
In "Taking Steps", Christoph Winkler takes a closer look at the ‘Lifelong Learning’ program initiated by the Unesco und the OECD and applies it to the daily life of dancers: how does learning take place in dance and where does economical contingency reflect itself in daily practice? Or to carry a common metaphor further: If the body is the instrument of the dancer and we are all human capital, then what’s playing? view
in collaboration with ed physical theatre as part of Intradance, 2010
"True Style" was produced in St. Petersburg as part of the Russian-European exchange program "Intradance”. For the project 7 EU choreographers were chosen to develop co-productions with 7 Russian dance groups in 7 Russian cities. From May 20th to 23rd, 2010 all 7 co-productions will be presented in Moscow at the Intradance Festival. view
When information is refused, it is fair to assume that it is either unknown or that there are good reasons for not wishing to communicate it. The same is the case with reality: either it doesn’t matter or we accept that we can’t know everything at a given point in time. view
2008, 4 Performers, 90 Min.
The production of art, no matter in which form, more or less resembles a game of strategy. In the beginning, there is always the decision for or against a certain form, aesthetic, convention, topic or specific medium.But every decision is also fundamentally influenced by the perspective, which it is based on. This perspective not only determines the production strategy, but equally the reception of the respective work of art. view
2007, 7 Performer, 110 Min.
From the first parties in the Bronx in 1974 to the million-dollar, globalized business that dominates our lifestyle today- the hip hop movement has gone through a dramatic development. B-Boys & Breakgirls examines the scene’s marketing strategies and its effects. view
ongoing project (DVD, performances,etc.), since 2006
BERLIN GOGOS takes the next step towards an economy of dance. We no longer offer dance as art but sell dance in its most simple and purest form, dance as animation, better known as GoGo Dancing. view
2006, solo, 50 Min.
Watching dance in a theater is a special process. It requires, as Mallarmé called it in his little essay "crayonné au thèatre", "a kind of impersonal or brilliantly totalitarian gaze”. As a person, the dancer withdraws herself, represents nothing or is, as Mallarmé wrote on the dancing body: only an emblem, never someone… view
- on mimesis, sacrificial lambs and other scapegoats -, 2006, 8 Dancers, 90 Min.
The capacity to exchange animal for human is the most important and spectacular modality of monstrosity in mythology. The goat plays a special role throughout history in this process, especially in its appearance as "scapegoat”. view
2006, Solo, 20 Min.
A popular form of Iraqi pop music is called "Charly Bagdad". These are ballads in which the singer often quite freely improvises across various songs. What he is saying is not as important as that the feeling is right and these songs are then also full of life and flowery imagery. For this piece we have chosen three such songs. These form the starting point for a small journey through Iraq as it once was and maybe no longer be for quite some time. view
2006, Duet, 60 Min.
A piece, whose title defines it as something "last ", marks a break and separates time into a "before” and an "after”. What, however, is being brought to an end, what begun anew? DAS LETZTE DUETT ("The Last Duet") is piece for Bettina Thiel, 1. soloist of the Staatsballett Berlin, and Ingo Reulecke, soloist of the contemporary Berlin dance scene. Both look back on successful careers with guest appearances on numerous international stages. view
A White Page - The Long Song - Sexuality and Truth, 2004, Three Pieces, 60 Min., 15 x 10 Meter
Was haben ein ehemaliger bayerischer Meister im Stenographieren, eine stadtbekannte Ballerina, amerikanische Folkmusik und die Einsatzpläne der Feuerwehr für den Ernstfall miteinander zu tun? view
2003, 6 Dancers, 60 Min., 12 x 10 Meter
“Hinter den Linien“ is a piece about the relationship of war and culture as one of the most uncanny in human history. Cultural practice and martial action are intertwined and their tracks remain traceable over long periods of time. Dance, or rather the art of dance, is no exception to this rule. War and culture can easily be translated into military and dance, because it is this pair in particular that have occasionally entered into a liaison of an especially eerie nature. view
2001, 70 Min., 12 x 12 Meter
“Berst“ deals with a paradox: dancers always act on stage as thinking and feeling personas. Their actions are always actions onto themselves as they are themselves the embodiment of their art. And yet while dancing, the dancer as subject is perpetually second to the dancer as she who is dancing, because dancing bodies are anonymous, they are never a person, they are, as Mallarmé writes, “always only emblem, never somebody…”. view
- Frequently Asked Questions, 2000, Solo, 25 Min., 9 x 9 Meter
The majority of the work was of an archaeological nature, body excavations to movements not yet occupied by the aesthetics of classical dance. Because this type of dance permits technique to be embedded in the body like no other and manifest itself indistinguishably in the physique of the dancers. view