{"id":407,"date":"2013-11-06T14:09:34","date_gmt":"2013-11-06T14:09:34","guid":{"rendered":"http:\/\/heikealbrecht.net\/ha\/?p=407"},"modified":"2017-04-03T20:28:38","modified_gmt":"2017-04-03T20:28:38","slug":"travelling-to-the-four-corners-of-the-earth","status":"publish","type":"post","link":"http:\/\/heikealbrecht.net\/ha\/2013\/11\/06\/travelling-to-the-four-corners-of-the-earth\/","title":{"rendered":"Travelling To The Four Corners Of The Earth"},"content":{"rendered":"<p><strong>6.11.2013 (Premiere) <\/strong><br \/>\n<strong>Uferstudio 14 \u2013 Tanzfabrik Berlin-Wedding<br \/>\n<\/strong><\/p>\n<p><em>What does it mean to venture on a journey whose direction is as unclear as its destination, in which the reliance upon one another without sextant or compass continually threatens a drifting apart to all four corners of the earth? In a caleidoscopic interplay between stasis and movement, Miriam Jakob, Maija Karhunen and Nir Vidan negotiate the dramaturgic terrain of the stage. With their actions, the performers delve into the im\/possibility of circumscribing diversity into unity. The stringent use of minimal gestural intimations and statements transforms the theatre space into a charged field between visualisation and movement, creating a humorous, intimate play about impulse, reaction and technology, all around a picnic blanket.<\/em><br \/>\nChristina Amrhein<\/p>\n<p><em>Those wanting to travel to the four corners of the earth, on all fours or by car, must accept being quartered.<\/em><br \/>\nK\u00f6rper ein Handbuch. Ricardo Domeneck. Verlagshaus J. Frank, Berlin 2013<\/p>\n<p>In her works the ethnologist and choreographer Miriam Jakob from Berlin concentrates on the interface between science and fiction. The performance turns anthropological problems into poetic material. After lectures and solo performances &#8216;Travelling to the four Corners of the Earth&#8217;, is the first piece she choreographed for an ensemble.<\/p>\n<h5><em>Artists<\/em><br \/>\n<em>Choreography \/ Conzept<\/em> Miriam Jakob<br \/>\n<em>Performance<\/em> Miriam Jakob, Maija Karhunen, Nir Vidan<br \/>\n<em>Sound<\/em> Felix Classen<br \/>\n<em>Composition M\u00f6bius-Strip<\/em> Lukas Lonski<br \/>\n<em>Dramaturgical Support<\/em> Heike Albrecht, Antonia Baehr, Ana Laura Lozza<br \/>\n<em>Lightdesign<\/em> Sandra Blatterer<br \/>\n<em>Technical Modifikationen<\/em> Sukandar Kartadinata<br \/>\n<em>Assistenz<\/em> Anna Posch<br \/>\n<em>Support Costum &amp; Stage<\/em> Ebba Frans\u00e9n Waldh\u00f6r<br \/>\n<em>Translation<\/em> Caze van Duzer<\/h5>\n<h5>Production Miriam Jakob<br \/>\nFounded by Senatskanzlei f\u00fcr kulturelle Angelegenheiten der Stadt Berlin, Fonds Darstellende K\u00fcnste, Residenz PACT Zollverein, Tanztendenz M\u00fcnchen, Tanzfabrik Berlin and Hochschul\u00fcbergreifendes Zentrum Tanz Berlin<\/h5>\n<h5>www.miriamjakob.de<\/h5>\n<p><\/p>","protected":false},"excerpt":{"rendered":"<p>In a caleidoscopic interplay between stasis and movement, Miriam Jakob, Maija Karhunen and Nir Vidan negotiate the dramaturgic terrain of the stage. With their actions, the performers delve into the im\/possibility of circumscribing diversity into unity.<\/p>\n","protected":false},"author":2,"featured_media":779,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_FSMCFIC_featured_image_caption":"","_FSMCFIC_featured_image_nocaption":"","_FSMCFIC_featured_image_hide":""},"categories":[14],"tags":[69,70,71],"_links":{"self":[{"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/posts\/407"}],"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=407"}],"version-history":[{"count":15,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/posts\/407\/revisions"}],"predecessor-version":[{"id":785,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/posts\/407\/revisions\/785"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/media\/779"}],"wp:attachment":[{"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/media?parent=407"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/categories?post=407"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/tags?post=407"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}