2010, 3 Dancers
about the piece
The ‘Lifelong Learning’ programme initiated by Unesco and the OECD provided the theoretical basis on which numerous support programmes have been launched. The effects of this strategy were felt in all OECD countries in a variety of ways: a science-based approach to learning in general and numerous evaluation concepts for quantifying “human capital” are just some of the consequences of the “lifelong learning” ideology. In dance education, too, we see a profound change in training concepts in order to enable a comparison with the changing demands of the market. The piece “Taking Steps” explores this perspective and applies it to a dancer’s daily practice: how does learning take place in dance and in what ways do economic conditions affect daily routines? Or to continue a well-known metaphor: If the body is the dancer’s instrument and we all become human capital – what is being played?
Concept & Direction: Christoph Winkler | By and with: Luke Garwood, Martin Hansen und Christine Joy Ritter | Lighting: André Schulz | Costume Assistant: Lisa Kentner | Production Assistant: Parwanhe Frei | Production-Dramaturgy: ehrliche arbeit - freelance office for culture | Camera: Walter BickmannTanzforum Berlin | Photos: Heiko Marquardt _frischefotos
A Christoph Winkler production, co-produced by Sophiensaele. Funded by the City of Berlin - Department for Cultural Affairs, the Canada Council for the Arts, as well as the Dance-Residency Program of the Goethe-Institute Montréal and Circuit Est. Supported by Phase 7.
16. April 2011Sophiensaele Berlinat the Langen Nacht der Opern und Theater
13. & 14. April 2001, 19:30Sophiensaele BerlinRestaging
13. & 14. April 2011, 19:30Sophiensaele BerlinReopening
1. - 3. & 8. - 10. October 2010, 19:00Sophiensaele BerlinPremiere
Sophienstraße 18, 10178 Berlin
Tickets (13 Euro / reduced 8 Euro)
Phone 030 283 52 66
[...] a hitherto unknown level of social reflection and astounding self-critique in contemporary dance [...] Winkler has produced a precise, bitter and at times even hilarious portrait of the postmodern working society. The most remarkable thing is that although the piece directly articulates concrete issues, it never falls back into the narrative style of dance theater, but maintains its structuralist quality. […] a striking work of contemporary dance. - Tom Mustroph, neues deutschland