EMPIRE OF OIL – Part 3: BLACK MASS
Premiere & Performances 23. – 27. May 2018 / Ballhaus Ost
With EMPIRE OF OIL, the Costa Compagnie in cooperation with the Ballhaus Ost starts a substantial inquiry into this most decisive resource: divided into three separate media and parts, the project circles the complex topic oil and looks into the two contrary countries of Norway and Iraq. Does the powerful resource entail the potential for a social welfare utopia like Norway or does it lead to a never-ending war like in Iraq? What are the experiences of oil producers and oil workers and the people in their local context? Between November 2017 and May 2018, the group develops three intermedial performances and a virtual reality film between documentation and abstraction, based on the 360°-video material that they filmed on-site in Stavanger, Bergen, Kristiansand, Erbil, Sulaymaniyah, Kirkuk and Mosul.
After PART 1 – a documentary video-work in an immersive 360°-video space and PART 2 – a text and media based performance, in PART 3 two dancers will questioning the transformation process from matter to energy. In a common space with the audience, the physical confrontation poses questions about the transfer of energy from one body to another; about the gain and loss of energy; the sharing and consumption of a raw material that serves in a variety of ways for mainly one purpose: acceleration.
Booking and more information soon
CONTINUE I – Tongue
Liew \ Viehstädt
Premiere 09.02.2018, DPAC Theatre, Kuala Lumpur, Malaysia
CONTINUE is a series of three dance pieces, which are produced in Malaysia (Kuala Lumpur, Penang) and Germany (Hamburg, Berlin). The work is about continuously repeating patterns in nature and human behavior. In three parts, the work tries to extrapolate one of the most typical, enjoyable and problematic patterns of human being: communication -> relationship -> touch.
CONTINUE works with each of those topics and tries to find it’s unique abstraction into movement and dance.
The first part TONGUE is dealing with the different intentions of the spoken word in relation to movement. The second part TRIANGLE is investigating the many impalpable and constantly repeated ways of inter-human relationships, while the third part TOUCH is finally taking a look at the fundamental meaning of physical contact for merging things, societies and humans.
Supported by Goethe Institute, DPAC, INXO Arts Fund, Toccata Studio, Passion Ma Artistry & City Ballet Academy
Liew \ Viehstädt
Premiere 2017, LOFFT Leipzig, P-Bodies Festival
Tour Malaysia 2017/18 Johor Bahru, George Town
With a lot of humor and some dark magic, the german-malaysian Duo creating a Mermaid. The two dancers explore the implications of this „hybrid creature“ concerning movement, narration and gender.
GEBRAUCHSANWEISUNG ZUM VERSCHWINDEN
Choreography: Chikako Kaido
Premiere 2016, Weltkunstzimmer Düsseldorf
Tour 2017, Japan, Tokyo
In „Gebrauchsanweisung zum Verschwinden“ („Manual to Disappear“) the Düsseldorf choregrapher Chikakao Kaido and her multidisciplinary team explores the motif of dissapearing.
Choreography: Anna Konjetzky
Wah-Wah ist ein Beobachtungsraum, ein Gedankenraum, dessen Offenheit und Transparenz das Potential innewohnt Gemeinschaft entstehen zu lassen in einer euphorischen, ansteckenden, nie endenden Bewegung. Komprimierte Energie lässt an ihren Rändern alles in Bewegung geraten, um es schließlich zu verschlucken, mit sich zu verschmelzen und eine noch höhere Dichte zu erzeugen – Schicht um Schicht, Loop um Loop wird aufgetragen.
Anna Konjetzky >
PHYSICAL MATTERS / TABLEAU
Choreography: Jascha Viehstädt
Premiere 2015, P1 Kampnagel Hamburg
a study for a fictional, physical, real, non-existing body
CONVERSION / AFTER AFGHANISTAN
Premiere 2015, Theater und Orchester Heidelberg
„Everyday we leave the house, we are aware that we may die.“
The COSTA COMPAGNIE conducted research in the Hindu Kush for three weeks at the end of ISAF’s mission and spoke with Afghan activists, journalists, scientists and students, as well as with German and American soldiers and diplomats about their experiences within the region’s complex situation. CONVERSION translates the multiple voices and contradictions of the material into a powerful performance that blends contemporary dance, research-based theater, soundscapes and multimedia installation to create a new form of the messenger’s report, while pursuing questions such as: How did the ISAF-mission affect the situation in Afghanistan? And by which interdisciplinary means can we approach war
Choreography: Chikako Kaido
Premiered in 2015, Welkunstzimmer Düsseldorf
Premiere 2014, Pumpenhaus Münster
Balz Isler, Signe Koefoed, Louis Mejía, Jascha Viehstädt
Premiere 2015, Kampnagel Hamburg
In their first joint stage work, the four dance-, and media artists from Hamburg and Berlin deals with the complex terminology of space and time and translate these into social phenomena such as fear, freedom and oppression. They look to the aesthetics of horror and show an installation / situation of media harassment.
10-Day Exhibition, Opening 22. May 2014, Cuxhavener Kunstverein
WE WILL SHOOT OBJECTS INTO SPACE!
BRING BELOVED OBJECTS (max. Weight 850 grams)!
WARM GREETINGS TO ALL!
Premiere 2013, Uferstudios Berlin
As the hero of our very own reality, we are in search of the true fiction in dance and end up in a fairytale about the new, old war of humankind: Flesh vs. Stone.
Fukushima, my love
Premiere 2012, Fleetstreet Theatre Hamburg
1.5 years after the threefold disaster, one member of the COSTA COMPAGNIE traveled to Fukushima Prefecture and throughout Japan. He returned with a backpack full of interviews, sounds and video images. In FUKUSHIMA, MY LOVE the company pursues the question whether it is possible to reduce the spatial, temporal and cultural distance to the events of the disaster that also resulted in Germany’s departure from nuclear power. Based on 35 interviews and Japanese myths, three dancers, two actors, one musician and one video-artist artistically approached the incomprehensible in a performative essay, while asking: What is the human in the face of disaster?