ANTANZEN is an open training for nonprofessionals that takes place in regular intervals at the Hessische Staatsballett. It offers a space in which different styles and dance techniques – from classical to contemporary dance – can be discovered and explored. Everyone is welcome. No experience necessary.

Please bring along comfortable training clothes, socks or dance shoes. Normal walking shoes are not allowed in the rehearsal room.

The ANTANZEN format is being carried out in cooperation with dance pedagogues from the region and the national and international network of alumni of the master’s degree in Contemporary Dance Education (MA CoDE) at the Hochschule für Musik und Darstellende Kunst Frankfurt am Main (HfMDK).

Meeting point: Foyer Kammerspiele 15 min. before start
More information & tickets

The training should encourage a consciousness for the whole body by using the principles of the Cunningham-Technique.

The training should encourage a consciousness for the whole body by using the principles of the Cunningham-Technique.

The training should encourage a consciousness for the whole body by using the principles of the Cunningham-Technique.

In his “Manufactured Series” Fabrice Mazliah creates ten duets, each between a human and a nonhuman handcrafted body. In the fourth duet of the series, the performer Emilia Giudicelli is collaborating with a rod for fly fishing, which she has made herself. To fly fish is to deeply listen to the different ecosystems that the angler is in contact with and to tune into them. Catching a fish, is not an end in itself, but rather the confirmation of a successful “reading” of the water, the vegetation of the bottom and the insects of the
specific wet biotope. The fly rod can function as an extension of the human body but also as a lever made up of bamboo and line, in order to cast a tiny knot of a string fly onto the surface of the water. Flies are studies of the insects in all the different stages of development. They “play” the fish and queer the fly angler community, still mainly male-gendered, with their colorful garments of paillettes and feathers. In the end the question remains: who catches whom? No language skills required

The training should encourage a consciousness for the whole body by using the principles of the Cunningham-Technique.

In his “Manufactured Series” Fabrice Mazliah creates ten duets, each between a human and a nonhuman handcrafted body. In the fourth duet of the series, the performer Emilia Giudicelli is collaborating with a rod for fly fishing, which she has made herself. To fly fish is to deeply listen to the different ecosystems that the angler is in contact with and to tune into them. Catching a fish, is not an end in itself, but rather the confirmation of a successful “reading” of the water, the vegetation of the bottom and the insects of the
specific wet biotope. The fly rod can function as an extension of the human body but also as a lever made up of bamboo and line, in order to cast a tiny knot of a string fly onto the surface of the water. Flies are studies of the insects in all the different stages of development. They “play” the fish and queer the fly angler community, still mainly male-gendered, with their colorful garments of paillettes and feathers. In the end the question remains: who catches whom? No language skills required

The training should encourage a consciousness for the whole body by using the principles of the Cunningham-Technique.

In his “Manufactured Series” Fabrice Mazliah creates ten duets, each between a human and a nonhuman handcrafted body. In the fourth duet of the series, the performer Emilia Giudicelli is collaborating with a rod for fly fishing, which she has made herself. To fly fish is to deeply listen to the different ecosystems that the angler is in contact with and to tune into them. Catching a fish, is not an end in itself, but rather the confirmation of a successful “reading” of the water, the vegetation of the bottom and the insects of the
specific wet biotope. The fly rod can function as an extension of the human body but also as a lever made up of bamboo and line, in order to cast a tiny knot of a string fly onto the surface of the water. Flies are studies of the insects in all the different stages of development. They “play” the fish and queer the fly angler community, still mainly male-gendered, with their colorful garments of paillettes and feathers. In the end the question remains: who catches whom? No language skills required

Flags and banners are integral parts of our lives. They indicate affiliation with a football club in stadiums or represent a nation during a political event. They are skilfully twirled through the air and are used at sea and by the military to communicate signals and messages. And even though people can now communicate across great distances almost in real time thanks to satellites and broadband networks, flags retain their importance for transporting messages. In her new piece, Frankfurt choreographer Paula Rosolen therefore focuses on this much-ignored means of communication. She superimposes various semiotic systems of using flags to create a semiotic language of her own, which is meant to transmit messages between her ensemble of dancers and the audience. The theatre becomes an experimental ground on which fundamental principles of communication – including misunderstandings and misdirected information – can be playfully experienced which validity even in the age of binary code. No language skills required.

Dauer: ca. 60 Min.
Mousonturm-Koproduktion
premiere

Flags and banners are integral parts of our lives. They indicate affiliation with a football club in stadiums or represent a nation during a political event. They are skilfully twirled through the air and are used at sea and by the military to communicate signals and messages. And even though people can now communicate across great distances almost in real time thanks to satellites and broadband networks, flags retain their importance for transporting messages. In her new piece, Frankfurt choreographer Paula Rosolen therefore focuses on this much-ignored means of communication. She superimposes various semiotic systems of using flags to create a semiotic language of her own, which is meant to transmit messages between her ensemble of dancers and the audience. The theatre becomes an experimental ground on which fundamental principles of communication – including misunderstandings and misdirected information – can be playfully experienced which validity even in the age of binary code. No language skills required.

Dauer: ca. 60 Min.
Mousonturm-Coproduction
Talk after the performance

CV
Gudaviciute is a freelancer teacher and teaches both professional, as well as beginners. Raimonda was born in Lithuania. She has started her dance education at the Aura Dance Theater in Kaunas. She has extended her education with a dance and acting degree in the Lithuanian Music and Theater Academy, where she graduated with a BA in 2007. Moreover, she participated in a student’s exchange program at the National Lyon Conservatory of Music and Dance in France. In 2009 she was a member of the TADaC´ 09 Company and successfully completed her master degree in contemporary dance at the Theatre Academy of Finland.

Class Description
The contemporary dance classes are based on floor work, sensation of light and heavy, push and pull principles. The observation of the condition of the own body, the rhythm of breathing and concentrating thoughts on being “here and now” is the main goal of the training. The training is followed by exercises on the floor and dynamic phrases reaching out in the space with stimulation of lightness of the movement. Important elements are a vast usage of the spine and the center, the potential of gravity, timing and impulses, fast changes of directions of the body and space. An important aspect of the moving is the concentration on the connection between the center and different body parts. The aim is to increase knowledge of your own body, get rid of the movement patterns.

Flags and banners are integral parts of our lives. They indicate affiliation with a football club in stadiums or represent a nation during a political event. They are skilfully twirled through the air and are used at sea and by the military to communicate signals and messages. And even though people can now communicate across great distances almost in real time thanks to satellites and broadband networks, flags retain their importance for transporting messages. In her new piece, Frankfurt choreographer Paula Rosolen therefore focuses on this much-ignored means of communication. She superimposes various semiotic systems of using flags to create a semiotic language of her own, which is meant to transmit messages between her ensemble of dancers and the audience. The theatre becomes an experimental ground on which fundamental principles of communication – including misunderstandings and misdirected information – can be playfully experienced which validity even in the age of binary code. No language skills required.

Flags and banners are integral parts of our lives. They indicate affiliation with a football club in stadiums or represent a nation during a political event. They are skilfully twirled through the air and are used at sea and by the military to communicate signals and messages. And even though people can now communicate across great distances almost in real time thanks to satellites and broadband networks, flags retain their importance for transporting messages. In her new piece, Frankfurt choreographer Paula Rosolen therefore focuses on this much-ignored means of communication. She superimposes various semiotic systems of using flags to create a semiotic language of her own, which is meant to transmit messages between her ensemble of dancers and the audience. The theatre becomes an experimental ground on which fundamental principles of communication – including misunderstandings and misdirected information – can be playfully experienced which validity even in the age of binary code. No language skills required.

Dauer: ca. 60 Min.
Mousonturm-Koproduktion
Warm-Up | 19.00 h

CV
Gudaviciute is a freelancer teacher and teaches both professional, as well as beginners. Raimonda was born in Lithuania. She has started her dance education at the Aura Dance Theater in Kaunas. She has extended her education with a dance and acting degree in the Lithuanian Music and Theater Academy, where she graduated with a BA in 2007. Moreover, she participated in a student’s exchange program at the National Lyon Conservatory of Music and Dance in France. In 2009 she was a member of the TADaC´ 09 Company and successfully completed her master degree in contemporary dance at the Theatre Academy of Finland.

Class Description
The contemporary dance classes are based on floor work, sensation of light and heavy, push and pull principles. The observation of the condition of the own body, the rhythm of breathing and concentrating thoughts on being “here and now” is the main goal of the training. The training is followed by exercises on the floor and dynamic phrases reaching out in the space with stimulation of lightness of the movement. Important elements are a vast usage of the spine and the center, the potential of gravity, timing and impulses, fast changes of directions of the body and space. An important aspect of the moving is the concentration on the connection between the center and different body parts. The aim is to increase knowledge of your own body, get rid of the movement patterns.

CV
Gudaviciute is a freelancer teacher and teaches both professional, as well as beginners. Raimonda was born in Lithuania. She has started her dance education at the Aura Dance Theater in Kaunas. She has extended her education with a dance and acting degree in the Lithuanian Music and Theater Academy, where she graduated with a BA in 2007. Moreover, she participated in a student’s exchange program at the National Lyon Conservatory of Music and Dance in France. In 2009 she was a member of the TADaC´ 09 Company and successfully completed her master degree in contemporary dance at the Theatre Academy of Finland.

Class Description
The contemporary dance classes are based on floor work, sensation of light and heavy, push and pull principles. The observation of the condition of the own body, the rhythm of breathing and concentrating thoughts on being “here and now” is the main goal of the training. The training is followed by exercises on the floor and dynamic phrases reaching out in the space with stimulation of lightness of the movement. Important elements are a vast usage of the spine and the center, the potential of gravity, timing and impulses, fast changes of directions of the body and space. An important aspect of the moving is the concentration on the connection between the center and different body parts. The aim is to increase knowledge of your own body, get rid of the movement patterns.

CV
Gudaviciute is a freelancer teacher and teaches both professional, as well as beginners. Raimonda was born in Lithuania. She has started her dance education at the Aura Dance Theater in Kaunas. She has extended her education with a dance and acting degree in the Lithuanian Music and Theater Academy, where she graduated with a BA in 2007. Moreover, she participated in a student’s exchange program at the National Lyon Conservatory of Music and Dance in France. In 2009 she was a member of the TADaC´ 09 Company and successfully completed her master degree in contemporary dance at the Theatre Academy of Finland.

Class Description
The contemporary dance classes are based on floor work, sensation of light and heavy, push and pull principles. The observation of the condition of the own body, the rhythm of breathing and concentrating thoughts on being “here and now” is the main goal of the training. The training is followed by exercises on the floor and dynamic phrases reaching out in the space with stimulation of lightness of the movement. Important elements are a vast usage of the spine and the center, the potential of gravity, timing and impulses, fast changes of directions of the body and space. An important aspect of the moving is the concentration on the connection between the center and different body parts. The aim is to increase knowledge of your own body, get rid of the movement patterns.

CV
Gudaviciute is a freelancer teacher and teaches both professional, as well as beginners. Raimonda was born in Lithuania. She has started her dance education at the Aura Dance Theater in Kaunas. She has extended her education with a dance and acting degree in the Lithuanian Music and Theater Academy, where she graduated with a BA in 2007. Moreover, she participated in a student’s exchange program at the National Lyon Conservatory of Music and Dance in France. In 2009 she was a member of the TADaC´ 09 Company and successfully completed her master degree in contemporary dance at the Theatre Academy of Finland.

Class Description
The contemporary dance classes are based on floor work, sensation of light and heavy, push and pull principles. The observation of the condition of the own body, the rhythm of breathing and concentrating thoughts on being “here and now” is the main goal of the training. The training is followed by exercises on the floor and dynamic phrases reaching out in the space with stimulation of lightness of the movement. Important elements are a vast usage of the spine and the center, the potential of gravity, timing and impulses, fast changes of directions of the body and space. An important aspect of the moving is the concentration on the connection between the center and different body parts. The aim is to increase knowledge of your own body, get rid of the movement patterns.

ANTANZEN is an open training for nonprofessionals that takes place in regular intervals at the Hessische Staatsballett. It offers a space in which different styles and dance techniques – from classical to contemporary dance – can be discovered and explored. Everyone is welcome. No experience necessary.

Please bring along comfortable training clothes, socks or dance shoes. Normal walking shoes are not allowed in the rehearsal room.

The ANTANZEN format is being carried out in cooperation with dance pedagogues from the region and the national and international network of alumni of the master’s degree in Contemporary Dance Education (MA CoDE) at the Hochschule für Musik und Darstellende Kunst Frankfurt am Main (HfMDK).

Meeting point: 15 minutes before start of session.
More Information & tickets

Class Description
As a freelance dancer I often struggled with the idea of professional trainings. From one hand there is a need for a training that would allow oneself to have a reflective time on a physical practice. From the other hand, there is not enough formats that allow the freelance dancers and choreographers to share their practices. So, my question became, how to provide space for getting into ones body and at the same time remain the space open for experiments?
More than teaching, I would like to invite the participants into moving and thinking together. During the week, we will look into different practices that I have been introduced to, practiced or have developed during the past years. Some of those practices focus on listening; working with the body as a material and noticing what happens when we focus on specific elements that form choreography; working with voice and experimenting with how the sound can become a movement; doing ninja’s workout and learning how to disappear; and exorcising the contemporary dance.

CV
Katja Cheraneva is a freelance dancer based in Berlin. Studied at the Nikolai Ogryzskov’s Contemporary Dance School, Moscow and at the Hochschule für Musik und Darstellende Kunst, Frankfurt am Main. She was a member of the Kannon Dance Company from 2004 – 2005 and after finishing HfMDK joined The Forsythe Company from 2010 – 2015. Since then she has been freelancing as a dancer, choreographer and teacher, working in close collaboration with Fabrice Mazliah, Frances Chiaverini, Ksenia Ravvina and Janina Arendt. She has performed in ANGST II, III and award winning FAUST by Anne Imhof. From 2016 – 2019 a member and co-founder of HOOD that were resident artists of PACT Zollverein. As of October 2019 she is taking part in MACuP Giessen.

30-Minute Individual Appointments | Supervised by Prof. Dr. med. Benita Kuni

The Tanzplattform Rhein-Main now offers to dancers of all fields what many professional athletes take for granted – medical and therapeutic support throughout their entire active career. The early morning consultation sessions take place on a regular basis and provide 30-minute one-on-one advice on: the prevention of dance injuries, rehabilitation and returning to the studio and the stage after having sustained a dance injury, analysis of dance technique and technique coaching, information on alternative training methods, a “dance medicine check-up”, as well as guidance and supervision in the field of dance medicine.

Registration

Class Description
As a freelance dancer I often struggled with the idea of professional trainings. From one hand there is a need for a training that would allow oneself to have a reflective time on a physical practice. From the other hand, there is not enough formats that allow the freelance dancers and choreographers to share their practices. So, my question became, how to provide space for getting into ones body and at the same time remain the space open for experiments?
More than teaching, I would like to invite the participants into moving and thinking together. During the week, we will look into different practices that I have been introduced to, practiced or have developed during the past years. Some of those practices focus on listening; working with the body as a material and noticing what happens when we focus on specific elements that form choreography; working with voice and experimenting with how the sound can become a movement; doing ninja’s workout and learning how to disappear; and exorcising the contemporary dance.

CV
Katja Cheraneva is a freelance dancer based in Berlin. Studied at the Nikolai Ogryzskov’s Contemporary Dance School, Moscow and at the Hochschule für Musik und Darstellende Kunst, Frankfurt am Main. She was a member of the Kannon Dance Company from 2004 – 2005 and after finishing HfMDK joined The Forsythe Company from 2010 – 2015. Since then she has been freelancing as a dancer, choreographer and teacher, working in close collaboration with Fabrice Mazliah, Frances Chiaverini, Ksenia Ravvina and Janina Arendt. She has performed in ANGST II, III and award winning FAUST by Anne Imhof. From 2016 – 2019 a member and co-founder of HOOD that were resident artists of PACT Zollverein. As of October 2019 she is taking part in MACuP Giessen.

Class Description
As a freelance dancer I often struggled with the idea of professional trainings. From one hand there is a need for a training that would allow oneself to have a reflective time on a physical practice. From the other hand, there is not enough formats that allow the freelance dancers and choreographers to share their practices. So, my question became, how to provide space for getting into ones body and at the same time remain the space open for experiments?
More than teaching, I would like to invite the participants into moving and thinking together. During the week, we will look into different practices that I have been introduced to, practiced or have developed during the past years. Some of those practices focus on listening; working with the body as a material and noticing what happens when we focus on specific elements that form choreography; working with voice and experimenting with how the sound can become a movement; doing ninja’s workout and learning how to disappear; and exorcising the contemporary dance.

CV
Katja Cheraneva is a freelance dancer based in Berlin. Studied at the Nikolai Ogryzskov’s Contemporary Dance School, Moscow and at the Hochschule für Musik und Darstellende Kunst, Frankfurt am Main. She was a member of the Kannon Dance Company from 2004 – 2005 and after finishing HfMDK joined The Forsythe Company from 2010 – 2015. Since then she has been freelancing as a dancer, choreographer and teacher, working in close collaboration with Fabrice Mazliah, Frances Chiaverini, Ksenia Ravvina and Janina Arendt. She has performed in ANGST II, III and award winning FAUST by Anne Imhof. From 2016 – 2019 a member and co-founder of HOOD that were resident artists of PACT Zollverein. As of October 2019 she is taking part in MACuP Giessen.

Class Description
As a freelance dancer I often struggled with the idea of professional trainings. From one hand there is a need for a training that would allow oneself to have a reflective time on a physical practice. From the other hand, there is not enough formats that allow the freelance dancers and choreographers to share their practices. So, my question became, how to provide space for getting into ones body and at the same time remain the space open for experiments?
More than teaching, I would like to invite the participants into moving and thinking together. During the week, we will look into different practices that I have been introduced to, practiced or have developed during the past years. Some of those practices focus on listening; working with the body as a material and noticing what happens when we focus on specific elements that form choreography; working with voice and experimenting with how the sound can become a movement; doing ninja’s workout and learning how to disappear; and exorcising the contemporary dance.

CV
Katja Cheraneva is a freelance dancer based in Berlin. Studied at the Nikolai Ogryzskov’s Contemporary Dance School, Moscow and at the Hochschule für Musik und Darstellende Kunst, Frankfurt am Main. She was a member of the Kannon Dance Company from 2004 – 2005 and after finishing HfMDK joined The Forsythe Company from 2010 – 2015. Since then she has been freelancing as a dancer, choreographer and teacher, working in close collaboration with Fabrice Mazliah, Frances Chiaverini, Ksenia Ravvina and Janina Arendt. She has performed in ANGST II, III and award winning FAUST by Anne Imhof. From 2016 – 2019 a member and co-founder of HOOD that were resident artists of PACT Zollverein. As of October 2019 she is taking part in MACuP Giessen.

Class Description
As a freelance dancer I often struggled with the idea of professional trainings. From one hand there is a need for a training that would allow oneself to have a reflective time on a physical practice. From the other hand, there is not enough formats that allow the freelance dancers and choreographers to share their practices. So, my question became, how to provide space for getting into ones body and at the same time remain the space open for experiments?
More than teaching, I would like to invite the participants into moving and thinking together. During the week, we will look into different practices that I have been introduced to, practiced or have developed during the past years. Some of those practices focus on listening; working with the body as a material and noticing what happens when we focus on specific elements that form choreography; working with voice and experimenting with how the sound can become a movement; doing ninja’s workout and learning how to disappear; and exorcising the contemporary dance.

CV
Katja Cheraneva is a freelance dancer based in Berlin. Studied at the Nikolai Ogryzskov’s Contemporary Dance School, Moscow and at the Hochschule für Musik und Darstellende Kunst, Frankfurt am Main. She was a member of the Kannon Dance Company from 2004 – 2005 and after finishing HfMDK joined The Forsythe Company from 2010 – 2015. Since then she has been freelancing as a dancer, choreographer and teacher, working in close collaboration with Fabrice Mazliah, Frances Chiaverini, Ksenia Ravvina and Janina Arendt. She has performed in ANGST II, III and award winning FAUST by Anne Imhof. From 2016 – 2019 a member and co-founder of HOOD that were resident artists of PACT Zollverein. As of October 2019 she is taking part in MACuP Giessen.

CV
Allison Brown, living in Frankfurt, Germany, has been making her own work since 1998, starting with the experimental piece “Achtung Honey”. In 2003 she choreographed a piece for 8 dancers entitled “Worship the Flaw” for Amanda Miller’s company, Pretty Ugly / Ballett Freiburg. “Grundlicht”, an evening length work, was created in 2006 at the Künstlerhaus Mousonturm in Frankfurt. Her most recent production is entitled “just like that” and has been commissioned by the Transitions Dance Company for the 2008 season. Allison Brown is teaching workshops throughout Europe, North America and Japan. She has participated in numerous symposia, such as the interdisciplinary “Connect – Between Art and Architecture” symposium at the University of Hannover in June 2005. Her previous dance experience includes New York City Ballet, Twyla Tharp and Dancers, Amanda Miller’s Pretty Ugly Dance Company and Saburo Teshigawara’s Karas Company. From 1996 to 2004 she was a member of William Forsythe’s Ballett Frankfurt.

Class Description
My class is geared towards developing an extended and fluid sense of movement while pursuing detailed articulations and rhythmical dynamics. The class is based on classical, modern and yoga techiques. It also includes information I have gained throughout my dance career. There will be a warm up that deeply activates joint mobility followed by exercises and sequences with layered task coordinations. The dancers are encouraged to locate their individual understanding of the ideas and exercises.

CV
Allison Brown, living in Frankfurt, Germany, has been making her own work since 1998, starting with the experimental piece “Achtung Honey”. In 2003 she choreographed a piece for 8 dancers entitled “Worship the Flaw” for Amanda Miller’s company, Pretty Ugly / Ballett Freiburg. “Grundlicht”, an evening length work, was created in 2006 at the Künstlerhaus Mousonturm in Frankfurt. Her most recent production is entitled “just like that” and has been commissioned by the Transitions Dance Company for the 2008 season. Allison Brown is teaching workshops throughout Europe, North America and Japan. She has participated in numerous symposia, such as the interdisciplinary “Connect – Between Art and Architecture” symposium at the University of Hannover in June 2005. Her previous dance experience includes New York City Ballet, Twyla Tharp and Dancers, Amanda Miller’s Pretty Ugly Dance Company and Saburo Teshigawara’s Karas Company. From 1996 to 2004 she was a member of William Forsythe’s Ballett Frankfurt.

Class Description
My class is geared towards developing an extended and fluid sense of movement while pursuing detailed articulations and rhythmical dynamics. The class is based on classical, modern and yoga techiques. It also includes information I have gained throughout my dance career. There will be a warm up that deeply activates joint mobility followed by exercises and sequences with layered task coordinations. The dancers are encouraged to locate their individual understanding of the ideas and exercises.

CV
Allison Brown, living in Frankfurt, Germany, has been making her own work since 1998, starting with the experimental piece “Achtung Honey”. In 2003 she choreographed a piece for 8 dancers entitled “Worship the Flaw” for Amanda Miller’s company, Pretty Ugly / Ballett Freiburg. “Grundlicht”, an evening length work, was created in 2006 at the Künstlerhaus Mousonturm in Frankfurt. Her most recent production is entitled “just like that” and has been commissioned by the Transitions Dance Company for the 2008 season. Allison Brown is teaching workshops throughout Europe, North America and Japan. She has participated in numerous symposia, such as the interdisciplinary “Connect – Between Art and Architecture” symposium at the University of Hannover in June 2005. Her previous dance experience includes New York City Ballet, Twyla Tharp and Dancers, Amanda Miller’s Pretty Ugly Dance Company and Saburo Teshigawara’s Karas Company. From 1996 to 2004 she was a member of William Forsythe’s Ballett Frankfurt.

Class Description
My class is geared towards developing an extended and fluid sense of movement while pursuing detailed articulations and rhythmical dynamics. The class is based on classical, modern and yoga techiques. It also includes information I have gained throughout my dance career. There will be a warm up that deeply activates joint mobility followed by exercises and sequences with layered task coordinations. The dancers are encouraged to locate their individual understanding of the ideas and exercises.

CV
Allison Brown, living in Frankfurt, Germany, has been making her own work since 1998, starting with the experimental piece “Achtung Honey”. In 2003 she choreographed a piece for 8 dancers entitled “Worship the Flaw” for Amanda Miller’s company, Pretty Ugly / Ballett Freiburg. “Grundlicht”, an evening length work, was created in 2006 at the Künstlerhaus Mousonturm in Frankfurt. Her most recent production is entitled “just like that” and has been commissioned by the Transitions Dance Company for the 2008 season. Allison Brown is teaching workshops throughout Europe, North America and Japan. She has participated in numerous symposia, such as the interdisciplinary “Connect – Between Art and Architecture” symposium at the University of Hannover in June 2005. Her previous dance experience includes New York City Ballet, Twyla Tharp and Dancers, Amanda Miller’s Pretty Ugly Dance Company and Saburo Teshigawara’s Karas Company. From 1996 to 2004 she was a member of William Forsythe’s Ballett Frankfurt.

Class Description
My class is geared towards developing an extended and fluid sense of movement while pursuing detailed articulations and rhythmical dynamics. The class is based on classical, modern and yoga techiques. It also includes information I have gained throughout my dance career. There will be a warm up that deeply activates joint mobility followed by exercises and sequences with layered task coordinations. The dancers are encouraged to locate their individual understanding of the ideas and exercises.

CV
Allison Brown, living in Frankfurt, Germany, has been making her own work since 1998, starting with the experimental piece “Achtung Honey”. In 2003 she choreographed a piece for 8 dancers entitled “Worship the Flaw” for Amanda Miller’s company, Pretty Ugly / Ballett Freiburg. “Grundlicht”, an evening length work, was created in 2006 at the Künstlerhaus Mousonturm in Frankfurt. Her most recent production is entitled “just like that” and has been commissioned by the Transitions Dance Company for the 2008 season. Allison Brown is teaching workshops throughout Europe, North America and Japan. She has participated in numerous symposia, such as the interdisciplinary “Connect – Between Art and Architecture” symposium at the University of Hannover in June 2005. Her previous dance experience includes New York City Ballet, Twyla Tharp and Dancers, Amanda Miller’s Pretty Ugly Dance Company and Saburo Teshigawara’s Karas Company. From 1996 to 2004 she was a member of William Forsythe’s Ballett Frankfurt.

Class Description
My class is geared towards developing an extended and fluid sense of movement while pursuing detailed articulations and rhythmical dynamics. The class is based on classical, modern and yoga techiques. It also includes information I have gained throughout my dance career. There will be a warm up that deeply activates joint mobility followed by exercises and sequences with layered task coordinations. The dancers are encouraged to locate their individual understanding of the ideas and exercises.

CV Laura Hicks (1979) is a dancer, choreographer, and movement educator. She trained in Canada at the Toronto Ballet Ensemble, the Alberta Ballet, and the University of Calgary (UofC). Over the last ten years her work has focused substantially on improvisation and Somatics. Her study of anatomy in the department of Kinesiology at UofC, Bartineff Fundamentals, Franklin Technique, contact improvisation, biomechanics, and philosophy are strong influences. She is a teacher in demand at contact improvisation festivals throughout Europe, is involved in a three year project in Paris in the study of ‘intersubjectivity’ in joint improvisation (Project ICI), and was awarded the HTA Postgraduate Alumni Research Grant for her own project in ‘Kinesthetic Mapping’ in 2016. As a choreographer she works with Hannah Shakti Bühler. She is a fully certified trainer of the Pilates Method, and holds an MA in Contemporary Dance Education from the Frankfurt University of Music and Performing Arts.

Class Description
Let’s arrive into a kinesthetic state: a state where movement choices follow sensorial feedback. Bringing together skills from improvisation with movement sequences, these classes are geared towards the professional dancer who is concerned with a detailed and haptic (felt) relationship to movement, over shape or form. We will work towards mapping kinesthetics through sensory expansion. We will challenge the agility and reflexes of our partners. We will create explosions and listen to them resonate. And we might do some movement phrases in a curious way.

Deborah Hay is one of the most influential choreographers of the USA. She was a founding member of the legendary Judson Dance Theater in New York, which is considered the creative breeding ground of postmodern dance. Hay defines dance as a permanent process of learning and unlearning, which forces her to constantly reinvent her own practice. This double bill features two new works, thus offering the chance to get to know the versatility of this witty dance revolutionary. “Animals on the Beach” is performed by an outstanding cast of five dancers, including former Forsythe dancers Tilman O’Donell and Christopher Roman. The ensemble’s extensive knowledge enters into delicate dialogue with the intimacy and rigor of Hay’s performance practice. In her solo “my choreographed body … revisited”, Hay addresses her own fifty years of artistic practice, which have formed i.e. deeply choreographed her body. Reason enough for Hay to shake off the composition structures that shaped her solos in the past. No language skills required

Length: 100 minutes
Introduction: 19.30 h

CV Laura Hicks (1979) is a dancer, choreographer, and movement educator. She trained in Canada at the Toronto Ballet Ensemble, the Alberta Ballet, and the University of Calgary (UofC). Over the last ten years her work has focused substantially on improvisation and Somatics. Her study of anatomy in the department of Kinesiology at UofC, Bartineff Fundamentals, Franklin Technique, contact improvisation, biomechanics, and philosophy are strong influences. She is a teacher in demand at contact improvisation festivals throughout Europe, is involved in a three year project in Paris in the study of ‘intersubjectivity’ in joint improvisation (Project ICI), and was awarded the HTA Postgraduate Alumni Research Grant for her own project in ‘Kinesthetic Mapping’ in 2016. As a choreographer she works with Hannah Shakti Bühler. She is a fully certified trainer of the Pilates Method, and holds an MA in Contemporary Dance Education from the Frankfurt University of Music and Performing Arts.

Class Description
Let’s arrive into a kinesthetic state: a state where movement choices follow sensorial feedback. Bringing together skills from improvisation with movement sequences, these classes are geared towards the professional dancer who is concerned with a detailed and haptic (felt) relationship to movement, over shape or form. We will work towards mapping kinesthetics through sensory expansion. We will challenge the agility and reflexes of our partners. We will create explosions and listen to them resonate. And we might do some movement phrases in a curious way.

Deborah Hay is one of the most influential choreographers of the USA. She was a founding member of the legendary Judson Dance Theater in New York, which is considered the creative breeding ground of postmodern dance. Hay defines dance as a permanent process of learning and unlearning, which forces her to constantly reinvent her own practice. This double bill features two new works, thus offering the chance to get to know the versatility of this witty dance revolutionary. “Animals on the Beach” is performed by an outstanding cast of five dancers, including former Forsythe dancers Tilman O’Donell and Christopher Roman. The ensemble’s extensive knowledge enters into delicate dialogue with the intimacy and rigor of Hay’s performance practice. In her solo “my choreographed body … revisited”, Hay addresses her own fifty years of artistic practice, which have formed i.e. deeply choreographed her body. Reason enough for Hay to shake off the composition structures that shaped her solos in the past. No language skills required.

Length: 100 minutes
Talk after the performance

CV Laura Hicks (1979) is a dancer, choreographer, and movement educator. She trained in Canada at the Toronto Ballet Ensemble, the Alberta Ballet, and the University of Calgary (UofC). Over the last ten years her work has focused substantially on improvisation and Somatics. Her study of anatomy in the department of Kinesiology at UofC, Bartineff Fundamentals, Franklin Technique, contact improvisation, biomechanics, and philosophy are strong influences. She is a teacher in demand at contact improvisation festivals throughout Europe, is involved in a three year project in Paris in the study of ‘intersubjectivity’ in joint improvisation (Project ICI), and was awarded the HTA Postgraduate Alumni Research Grant for her own project in ‘Kinesthetic Mapping’ in 2016. As a choreographer she works with Hannah Shakti Bühler. She is a fully certified trainer of the Pilates Method, and holds an MA in Contemporary Dance Education from the Frankfurt University of Music and Performing Arts.

Class Description
Let’s arrive into a kinesthetic state: a state where movement choices follow sensorial feedback. Bringing together skills from improvisation with movement sequences, these classes are geared towards the professional dancer who is concerned with a detailed and haptic (felt) relationship to movement, over shape or form. We will work towards mapping kinesthetics through sensory expansion. We will challenge the agility and reflexes of our partners. We will create explosions and listen to them resonate. And we might do some movement phrases in a curious way.

CV Laura Hicks (1979) is a dancer, choreographer, and movement educator. She trained in Canada at the Toronto Ballet Ensemble, the Alberta Ballet, and the University of Calgary (UofC). Over the last ten years her work has focused substantially on improvisation and Somatics. Her study of anatomy in the department of Kinesiology at UofC, Bartineff Fundamentals, Franklin Technique, contact improvisation, biomechanics, and philosophy are strong influences. She is a teacher in demand at contact improvisation festivals throughout Europe, is involved in a three year project in Paris in the study of ‘intersubjectivity’ in joint improvisation (Project ICI), and was awarded the HTA Postgraduate Alumni Research Grant for her own project in ‘Kinesthetic Mapping’ in 2016. As a choreographer she works with Hannah Shakti Bühler. She is a fully certified trainer of the Pilates Method, and holds an MA in Contemporary Dance Education from the Frankfurt University of Music and Performing Arts.

Class Description
Let’s arrive into a kinesthetic state: a state where movement choices follow sensorial feedback. Bringing together skills from improvisation with movement sequences, these classes are geared towards the professional dancer who is concerned with a detailed and haptic (felt) relationship to movement, over shape or form. We will work towards mapping kinesthetics through sensory expansion. We will challenge the agility and reflexes of our partners. We will create explosions and listen to them resonate. And we might do some movement phrases in a curious way.

CV Laura Hicks (1979) is a dancer, choreographer, and movement educator. She trained in Canada at the Toronto Ballet Ensemble, the Alberta Ballet, and the University of Calgary (UofC). Over the last ten years her work has focused substantially on improvisation and Somatics. Her study of anatomy in the department of Kinesiology at UofC, Bartineff Fundamentals, Franklin Technique, contact improvisation, biomechanics, and philosophy are strong influences. She is a teacher in demand at contact improvisation festivals throughout Europe, is involved in a three year project in Paris in the study of ‘intersubjectivity’ in joint improvisation (Project ICI), and was awarded the HTA Postgraduate Alumni Research Grant for her own project in ‘Kinesthetic Mapping’ in 2016. As a choreographer she works with Hannah Shakti Bühler. She is a fully certified trainer of the Pilates Method, and holds an MA in Contemporary Dance Education from the Frankfurt University of Music and Performing Arts.

Class Description
Let’s arrive into a kinesthetic state: a state where movement choices follow sensorial feedback. Bringing together skills from improvisation with movement sequences, these classes are geared towards the professional dancer who is concerned with a detailed and haptic (felt) relationship to movement, over shape or form. We will work towards mapping kinesthetics through sensory expansion. We will challenge the agility and reflexes of our partners. We will create explosions and listen to them resonate. And we might do some movement phrases in a curious way.

ANTANZEN is an open training for nonprofessionals that takes place in regular intervals at the Hessische Staatsballett. It offers a space in which different styles and dance techniques – from classical to contemporary dance – can be discovered and explored. Everyone is welcome. No experience necessary. It takes place once a month in the Staatstheater Wiesbaden and Staatstheater Darmstadt.

Please bring along comfortable training clothes, socks or dance shoes. Normal walking shoes are not allowed in the rehearsal room.

The ANTANZEN format is being carried out in cooperation with dance pedagogues from the region and the national and international network of alumni of the master’s degree in Contemporary Dance Education (MA CoDE) at the Hochschule für Musik und Darstellende Kunst Frankfurt am Main (HfMDK).

Meeting point: Foyer Kammerspiele 15 min. before start

More Information & Tickets

30-Minute Individual Appointments | Supervised by Prof. Dr. med. Benita Kuni

The Tanzplattform Rhein-Main now offers to dancers of all fields what many professional athletes take for granted – medical and therapeutic support throughout their entire active career. The early morning consultation sessions take place on a regular basis and provide 30-minute one-on-one advice on: the prevention of dance injuries, rehabilitation and returning to the studio and the stage after having sustained a dance injury, analysis of dance technique and technique coaching, information on alternative training methods, a “dance medicine check-up”, as well as guidance and supervision in the field of dance medicine.

30-Minute Individual Appointments | Supervised by Prof. Dr. med. Benita Kuni

The Tanzplattform Rhein-Main now offers to dancers of all fields what many professional athletes take for granted – medical and therapeutic support throughout their entire active career. The early morning consultation sessions take place on a regular basis and provide 30-minute one-on-one advice on: the prevention of dance injuries, rehabilitation and returning to the studio and the stage after having sustained a dance injury, analysis of dance technique and technique coaching, information on alternative training methods, a “dance medicine check-up”, as well as guidance and supervision in the field of dance medicine.

30-Minute Individual Appointments | Supervised by Prof. Dr. med. Benita Kuni

The Tanzplattform Rhein-Main now offers to dancers of all fields what many professional athletes take for granted – medical and therapeutic support throughout their entire active career. The early morning consultation sessions take place on a regular basis and provide 30-minute one-on-one advice on: the prevention of dance injuries, rehabilitation and returning to the studio and the stage after having sustained a dance injury, analysis of dance technique and technique coaching, information on alternative training methods, a “dance medicine check-up”, as well as guidance and supervision in the field of dance medicine.