Before each performance, the audience is invited to a 20-minute practical introduction. This takes place on stage and is led by Rafaële Giovanola. No previous experience is required for the introduction. Meeting point is 45 minutes before the performance in the foyer.
Modern cybernetic systems have an internal model of the outside world, in which everything that is supposed to happen out there is acted out inside. Together with the audience, CocoonDance creates with CHORA an opening and closing space that allows us to feel our relationship with the world around us. CocoonDance, best known for its powerful works that deconstruct the body, focuses in CHORA as never before on the imagination and perception of space. Choreography is understood as a cultural technique capable of ordering bodies and things, connecting them, driving change, and opening up resonant spaces.
Situated between the sensual and the logical, CHORA's theater space is reminiscent of Plato's third genre of space, which gives everything its place without allowing itself to be pinned down to a place.
CHORA stands for the search for new creative processes. The project focuses on co-authorship and its manifold possibilities. It is about rewriting, transforming and merging movements, about a polyphonic aesthetic. CHORA presents seven performers in an evolving, ever-changing sound/space installation in which the bodies of the audience and performers coexist and network in a concept that actually creates the scenic space.
It is impossible to imagine the contemporary European dance scene without the collective project CocoonDance around Swiss choreographer Rafaële Giovanola, winner of the FAUST Prize 2022. Founded in 2000, the company has since been on the road on five continents with around 50 productions and has been honored several times by invitations to the most important events of the scene on a national level, such as the Tanzplattform Deutschland 2018 and 2020, as well as internationally by invitations to renowned festivals. Since 2004, the company plays the dance section at the Theater im Ballsaal in Bonn, a house of producing artists, interface and sphere of action of various factors of contemporary dance, including numerous projects of art education. Intensive, almost unlimited body research as well as collective decision-making processes form the basis for the aesthetic density and dramaturgical consistency of the works, which constantly question our ideas of movement and body, both fascinating and disturbing at the same time.
By and with Martina De Dominicis, Margaux Dorsaz, Álvaro Esteban, Clémentine Herveux Marin Lemic, Bojana Mitrovic, Evandro Pedroni/Jenna Hendry/Cristina Commisso/Colas Lucot
Direction Rafaële Giovanola
Choreography Rafaële Giovanola in collaboration with Martina De Dominicis, Álvaro Esteban
Co-writers Fa-Hsuan Chen, Martina De Dominicis, Álvaro Esteban, Susanne Schneider
Composition Franco Mento, Jörg Ritzenhoff
Sound research Manuel Riegler
Light, Space Jan Wiesbrock, David Glassey, Boris Kahnert
Costumes Fa-Hsuan Chen
Dramaturgy, Concept Rainald Endrass
Texts Augustin Casala, Mélisende Navarre, Martina De Dominicis
Movement research Morgane Stephan, Werner Nigg, Francisco Ladron de Guevara
Video documentation Michael Maurissens, Hugo Pratap Parvex
Press and Public Relations Fabiana Uhart, Rainald Endrass
Social Media Maud Richard
Production Management Marcus Bomski
Administration Maxime Rappaz, Till Skoruppa
Management Godlive Lavani, Aurélie Martin
In co-production with Théâtre du Crochetan Monthey, Theater im Ballsaal Bonn, Ringlokschuppen Ruhr Mülheim, TanzFaktur Köln.
Supported by Kunststiftung NRW, Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen, NRW Landesbüro Freie Darstellende Künste, Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media within the framework of NEUSTART KULTUR, Bundesstadt Bonn and Pro Helvetia, ThéâtrePro Valais, Loterie Suisse Romande, Conseil de la Culture État du Valais, Ernst Göhner Stiftung.
Photos Michael Maurissens, Jo HempelThis content has been machine translated.
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