{"id":264,"date":"2015-02-20T11:43:40","date_gmt":"2015-02-20T11:43:40","guid":{"rendered":"http:\/\/heikealbrecht.net\/ha\/?p=264"},"modified":"2017-03-25T16:11:35","modified_gmt":"2017-03-25T16:11:35","slug":"deutsch-o-t-the-emotionality-of-the-jaw","status":"publish","type":"post","link":"http:\/\/heikealbrecht.net\/ha\/2015\/02\/20\/deutsch-o-t-the-emotionality-of-the-jaw\/","title":{"rendered":"o.T. | (the emotionality of the jaw)"},"content":{"rendered":"

Premiere 20.02.2015<\/strong>
\n Tanzquartier Wien \u2013 Halle G<\/strong><\/p>\n

The title of Ian Kaler’s working series \u2013 o.T. \u2013 is refering to the german acronym \u201eohne Titel\u201c (untitled) and at the same time opens up to various (other) readings.
\nIn o.T. | (the emotionality of the jaw), the first part of the series, Ian Kaler further develops his solo-practice. The piece explores states of \u201cdawn\/ing\u201d as states of charging (with) energy, states of drifting that correspond to a letting-go (of control) and lead towards an outburst of energy, not as a destructive moment, but as a possibility for re-orientation. o.T. | (the emotionality of the jaw) asks how we define the \u201ebodily\u201c (through bodies and embodyment) and how this relates to qualities such as clear boundaries and limits or contours. Ian Kaler is following lines of abstraction that rather enhance an understanding of how to conceive of, perceive and experience the bodily. (the emotionality of the jaw) is approaching a field of empathy through sharing a time and space which gets activated in the vibrancy of multiple bodies, thus operating on extensions of the bodily.
\nFollowing the series of group-pieces \u2013 Contingencies \u2013 (the emotionality of the jaw) is a further exploration of the format of the solo (as previously the series On Orientations). Together with Ian Kaler AQUARIAN JUGS a new alias from Jam Rostron aka Planningtorock will be on stage as musician \/ performer. Thus exploring the limits of the solo, as well as intersections of electronic and instrumental music, forming layers of the bodily through space, music and presence. After a number of site-specific pieces for ao. galleries and studios this work is conceived for the architecture and qualities of the blackbox as space, architecture and context.
\no.T. | (the emotionality of the jaw) develops a fluxus of pulsatile motion, explores swaying and blurring as (physical) states and locomotion and operates with loops and loopings of movement-sequences to create spacial inscriptions \u2013 leaving traces and markers that blur the bodily.<\/p>\n

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Artistic Direction \/ Choreografic Framing \/ Performance<\/em> Ian Kaler
\nMusic composed and produced by<\/em> AQUARIAN JUGS aka Jam Rostron Music
\nperformed by<\/em> AQUARIAN JUGS aka Jam Rostron and Houeida Hedfi
\nSpace<\/em> Stephanie Rauch
\nLightdesign<\/em> Jan Maertens
\nCostumes<\/em> Marcus Karkhof
\nDramaturgy \/ Soatic Coach \/ Production advisor<\/em> Heike Albrecht
\nInput Bodywork<\/em> Heike Albrecht, Patricia Br\u00fclhart, Stephane Peeps Moun
\nProjectmanagement<\/em> das Schaufenster (Vienna\/Umea), Barbara Greiner (Berlin)
\nProduction<\/em> Ian Kaler
\nCoproduction<\/em> Tanzquartier Wien, Norrlandsoperan, HAU Hebbel am Ufer
\nCooperation<\/em> Tanzfabrik Berlin, APAP – Advancing Performing Arts Project – Performing Europe
\nSupported by<\/em> Wien Kultur, Der Regierende B\u00fcrgermeister von Berlin Senatskanzlei Kulturelle Angelegenheiten, NATIONALE PERFORMANCE NETZ (NPN) Koproduktionsf\u00f6rderung Tanz aus Mitteln des Beauftragten der Bundesregierung f\u00fcr Kultur und Medien aufgrund eines Beschlusses des Deutschen Bundestags<\/h5>\n
www.iankaler.org<\/h5>\n

<\/p>","protected":false},"excerpt":{"rendered":"

In o.T. | (the emotionality of the jaw), the first part of the series, Ian Kaler further develops his solo-practice. The piece explores states of \u201cdawn\/ing\u201d as states of charging (with) energy, states of drifting that correspond to a letting-go (of control) and lead towards an outburst of energy, not as a destructive moment, but as a possibility for re-orientation.<\/p>\n","protected":false},"author":2,"featured_media":266,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_FSMCFIC_featured_image_caption":"","_FSMCFIC_featured_image_nocaption":"","_FSMCFIC_featured_image_hide":""},"categories":[14],"tags":[25,34,35,41,42,38],"_links":{"self":[{"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/posts\/264"}],"collection":[{"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/comments?post=264"}],"version-history":[{"count":18,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/posts\/264\/revisions"}],"predecessor-version":[{"id":686,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/posts\/264\/revisions\/686"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/media\/266"}],"wp:attachment":[{"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/media?parent=264"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/categories?post=264"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/tags?post=264"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}