2012, 4 Dancers, 70 Min., 9 x 11 Meter
about the piece
From what point on is a movement really mine and when does this movement become art? The law only protects movement phrases, but what about the context or if no one is dancing? What could be the smallest building block of a movement phrase? Is a single movement comparable to a single note?
Is a true copy at all possible in dance? How does one and the same movement differ if performed by different dancers? And what does music have that we don’t have?
The piece is in English and German.
Concept: Christoph Winkler | By and with: Chris Daftsios, Luke Garwood, Katharina Meves, Nicola Schössler | Costumes: Bianca Karaula | Lighting Design: André Schulz | Camera: Walter BickmannTanzforum Berlin
"Dance! Copy! Right?“ is a Christoph Winkler production in cooperation with ehrliche arbeit – freelance office for culture, Sophiensaele Berlin and the Heinrich-Böll-Foundation. Funded by the City of Berlin – Department for Cultural Affairs. Supported by Phase 7.&nb
5. & 6. March 2015, 20:00Ballhaus Ost BerlinDouble Bill Dance & Politics - Revival
Titkcets 15/10 Euro on www.reservix.de
6. November 2013Centre for Cultural Decontamination, Belgrad
1. - 3. November 2013Ballhaus Ost Berlin
7. June 2013tanzhaus nrw DüsseldorfKeynote Performance as part of the Tanzkongresses
22. - 25. November 2012Theaterdiscounter, BerlinPremiere
24. - 27. May 2012SOPHIENSÆLE, BerlinPremiere
Christoph Winkler has produced an informative piece with four outstanding performers on the subject of copyright in the movements of the mind and those of the body are treated analog. [...] Winkler’s artistry lies in letting his performers interpret a mere four minutes of dance material in a sheer unbelievable number of ways, constantly packing new meanings and nuances into the same few gestures. - taz.de
More avant-garde is hardly possible. - tanzraumberlin
In terms of dance copyright this almost academic deconstructivist exposure of individual movements can almost be seen and understood as a warning premonition that dance may in the future be asked to pay for every step it makes or alternatively to choreograph with as lucrative movements as possible in mind. This is where Christoph Winkler’s study of the material takes on a politically explosive dimension and goes beyond merely appealing for the right to individual inspiration. The show is a well-made and entertaining argument for the right of artists to search for inspiration wherever they wish. -nachtausgabe.de