2011

... and then I wake up

"... and then I wake up" [10:17m] - Video: Holger Braack - © Victoria Hauke - Download als MP4 (hohe Qual.) oder Quicktime (mittlere Qual.)

14th - 18th of December 2011
K3 - Zentrum für Choreographie Tanzplan Hamburg auf Kampnagel

...the panther and I we hover over the field i`m not standing on the ground and then on the left side in the back there is a party I am at that party and everything is blue a transparent blue like this curacao drink when light is shining through it blue drinks blue light blue air everything is relaxed murmuring of the party and the entire party is blue

"... and then I wake up" - Photo © AnjaBeutler.de

"... and then I wake up" - Photo © AnjaBeutler.de

Dreams are existing since mankind is existing. And as long as that, people are asking again and again questions about their origins and their meaning. Points of vue and interpretations depend on philosophy of life and states of scientific research. Sigmund Freud and C.G. Jung came up with revolutionary insights, which are partially still relevant for todays psychology and dreamresearch. In current dreamresearch there are especially the neuro-scientific measuring techniques that are furnishing some understanding about processes in the dreaming body. But all realisations up to now, are mere approaches and hypotheses. The complexity of dream – regarding mind and body – probably will remain a secret to people.

"... and then I wake up" - Photo © AnjaBeutler.de

"... and then I wake up" - Photo © AnjaBeutler.de

... and then I wake up is a choreography, dealing with the phenomena of dream and at the same time it`s a special kind of dream research. Choreographer and dancer Victoria Hauke follows in ...and then I wake up her fascination about the knowledge of the dreaming body:

what happens with all thoses sensory memories, absorbed by cells and nerves, that dreams leave in us? What kind of traces are they creating in our bodies, how can we retrace them and mostly: how do they move us in the waking state? Is there something like a physical essence of the own dream?

While dreaming we experience things, which, being awake, would never be possible. Stories are disconnected and overcome physical laws alltogether: we can fly, take a metamorphosis into mere physical states, jump through time and we experience uncontrolled emotional energies.

Following their personal dreams, Victoria Hauke, Phillip van der Heijden and Chris Lechner are coming to a physical realization of these events in their research.

"... and then I wake up" - Photo © AnjaBeutler.de

"... and then I wake up" - Photo © AnjaBeutler.de

A dance performance evolves, that, nourished by the knowledge of the dreaming body, creates a sensual experience for the audience and is outstanding in it´s movement language. Sometimes this language seems to be foreign and then again, it is so well-known, as if something is talking to us from the depth of the soul – something, that directly touches our collective memory.

Künstlerische Leitung, Idee, Choreografie, Tanz	Victoria Hauke
CoCreation,Tanz	Philipp van der Heijden
CoCreation,Tanz	Chris Lechner
Musik, Komposition	Andreas Otto (www.andiotto.com)
Dramaturgie	Claude Jansen
Bühne	Swen Eric Scheuerling
Kostüm	Johanna von Renner
Produktionsassistenz	Lina Klingebeil

In Koproduktion mit K3 - Zentrum für Choreographie Hamburg, gefördert von Kulturbehörde Hamburg und Fonds Darstellende Künste e.V./Germany.

meeting with you and me

DANCEPERFORMANCE
Victoria Hauke (Hamburg) meets Dr. Alekhya Punjala (Hyderabad) in an encounter of both contemporary European and traditional Indian dance.

"meeting with you and me" - Photo © Sanjay Raichura

18th & 19th of October 2011, Hamburg, Hamburger Sprechwerk
part of the Inauguration of „Germany and India 2011-2012: Infinite Opportunities“ :
24. September 2011, Hyderabad, Taramati Baradari Auditorium, Hyderabad, India
26. September 2011, Ahmedabad,India
30. September 2011, Trivandrum, India

5. März 2011, Hyderabad, Bhaskara Auditorium, Birla Science Centre

Magic words of our time: Globalization, transnationality, intercultural communication. In ‘meeting with you and me’, the classic Indian choreograph/dancer Dr. Alekhya Punjala and the Contemporary Dance choreograph/dancer Victoria Hauke tackle these easily used terms and thereby experience the vast complexity of their true notions. ‘Meeting with you and me’ is an encounter initiated by the Goethe-Zentrum Hyderabad and the BKM Hamburg. At first it was fairly challenging for the two unacquainted choreographers. Within the four week long working period in Hyderabad, first attempts to get to know each other only occurred, as both highly respect the differences between one another and are willing to embrace a reciprocal exchange of knowledge. The performance-format that has emerged from this cooperation shows that the most important condition for such an encounter is a clear definition of one’s ‘own artistic self’ and an eagerness to know and appreciate the other.

A dance piece originated, which humorously, sensually and subtly shows an interpretation of what intercultural communication might look like.

Concept, choreography, performance	Victoria Hauke und Dr. Alekhya Punjala
Music by Alekhya Punjala	Vinod Kumar, Chander Rao, Sri Nivasa Rao, Murali Sankara
Music for Victoria Hauke (electronic)	Andreas Otto
Final dramaturgy	Claude Jansen
Language	mainly English, German, Telgugu
Length	approx. 75 minutes

Supported by: Behörde für Kultur und Medien der Freien und Hansestadt Hamburg, Goethe Zentrum Hyderabad – Association for German Culture (Goethe Institut), Indian Council for Cultural Relations (ICCR), IndiaWeek Hamburg
Vielen Dank für die Unterstützung des Indischen Generalkonsulat Hamburg.

jaaga-massaaga

"jaaga-massaaga" — Video [ 06:14 ]

Solo, a guided walk through the jaaga construction, created as Artist in Residence at „Jaaga, Creative Common Ground“, supported by Behörde für Kultur und Medien Hamburg and Jaaga/Bangalore, India

2010

fluid acts of deviation

"fluid acts of deviation" - Photo © Swen Eric Scheuerling

Premiere June 24th 2010, fleetstreet - Hamburg
Stück für 2 Tänzer/Performer

Die Landung lokalisieren.
Beim Einatmen Kontakt aufnehmen.
Abbiegen und brüsk wenden.

fluid acts of deviaton, 2010 - Photo © Swen Eric Scheuerling

Den Kontakt lokalisieren.
Brüsk wenden und landen.
Im Einatmen abbiegen.

Erinnerung ist ein sinnliches Fragment eines vergangenen Augenblicks, eine vielleicht nebensächliche und doch essentielle Randerscheinung. Sie ist nie dieselbe. Sie verändert sich je nach Beschaffenheit der Gegenwart und verbindet sich mit ihr: Sie wird schöner oder erschreckender, ein Teil wird weggelassen oder ein Nebenschauplatz vergrößert.

`fluid acts of deviation` dreht sich um die fließende Verbindung zwischen Erinnerung und der Wahrnehmung des Moments.

Ein Zustand, der sich aus der Bewegung des Sich-Erinnerns, des Vergessens und des Neu-Erfindens speist. Jede Aufführung oszilliert um die Grundchoreographie von fluid acts of deviation. Jede Handlungsentscheidung eröffnet eine neue Sicht auf die Zusammenhänge und führt zu einer der möglichen Versionen der Geschichte.

Rauschen, Romantik und treibende Skweee-Loops sind Materialien für den Sound der Klanginstallation von Andreas M. Otto (Komponist), deren Sound die beiden Performer mit ihren Entscheidungen selbst gestalten. Es entsteht ein Klangraum, der im Tanz selbst aufgeht.

fluid acts of deviaton, 2010 - Video [ 04:44 ]

Künstlerische Leitung, Choreografie, Tanz	Victoria Hauke
Tanz & CoCreation	Philipp van der Heijden
Musik	Andreas M. Otto
Dramaturgie	Jens Dietrich
Bühne	Swen Eric Scheuerling
Licht, Bühnentechnik	Henning Eggers
Public Relations	Ulrike Steffel
Praktikantinnen	Guadalupe Ramírez Sánchez, Navina Nervala

Gefördert von: Behörde für Kultur, Sport und Medien der Freien und Hansestadt Hamburg
Unterstützt durch: K3 – Zentrum für Choreographie, Tanzplan Hamburg

2009

()else

"()else" - Video [ 04:34 ] / Download Quicktime (35MB)

Premiere March 2009, Hamburger Sprechwerk

What is special about the word „else“ is that it can not be by itself. But it makes sense as soon as it comes together with another word:
Something else. Somewhere else, Who else?
The blank space in the title „( )else“ stands for this kind of connection.

„( )else“ is a dance performance for two dancers, man and woman, and a cellist in a videolight projection. It´s about the constantly changing interaction of forces between what appears to be „self“ and „other“.

In what way does someone, diving into new and apparently alien physical states, experience himself as an unknown creature, as a kind of hybrid being?
As a source of passion? As monster like? Does this cause irritation? Or satisfaction?

„We put our bodies into different physical states than usual“ Victoria Hauke says, „we merge with physical consistencies, not only „fluid“ or „airy“ ones, but something more special like „spiny“. Or „foam“. Or „dry peas“, which cause the movement to giggle and explode.

Communicating with each other, out of these physical and emotional states our contact gets influenced and driven. We realized that we start to communicate and get together in an entirely unfamiliar way.“

At times Victoria Hauke and her partner Olaf Reinecke are completely separate together on stage. As if two people in the city were talking on the phone with each other, while passing one another without realizing it.
And then they are depending on each other in the next moment, like a climber on the rockface. Who is the climber and who is the rock here, or wether they are loving or fighting each other is hard to tell, because the picture is constantly shifting.

The tension between the assumed „own“ and „other“ also shows up in the cello playing of Andreas Otto. While playing, a special sensor in the bow translates all movements into data, which can be interpreted by a music software in the laptop. It`s possible to record sounds, modulate and output them sequentially without leaving the cello. The „own“ of the cello and the „other“ of the software begin to merge, because both are played with the same interface, the bow.

Sound and movement merge in moments, then split completely. Just to start seducing each other from here again. An emotional triangle is between all of them, sometimes a circle, or a web.

Underneath all of this, something else, the video light is constantly present. The video beam crosses the space, creating a flickery, black and white medial murmur, which however is only visible when a body is moving into it.

All together a movement language developes in the course of the piece, a space is filling up, taken in by the contact with the „other“, the language of the blank space in the title „( )else“.

"()else" - Foto © Udo Kilian

"()else" - Foto © Udo Kilian

Artistic direction, choreography, dance	Victoria Hauke
Dance&cocreation	Olaf Reinecke
Cello (& fello)	Andreas Otto (pingipung-records)
Lightdesign	Udo Kilian
Videoprojection	Josephin Böttger
Dramaturgical assistance	Katharina Pewny, Barbara Schmidt - Rohr
Stage	Victoria Hauke
Press & public relations	Liv Sachisthal
Stage technic	Henning Eggers

With support from Behörde für Kultur, Sport und Medien Hamburg.

„.....The spellbound spectator starts to realize, that the „other“ world is mirroring his own.... The piece causes a slight but lasting quiver...“ (Klaus Witzeling/Ballettanz, Mai 09)

„There are strong moments of hybrid like spirals between Hauke and Reinecke...“ (Irmela Kästner/Welt, 30.03.09)

2008

ENGLISH TRANSLATION WILL FOLLOW SOON

"Superimposing —"

Von und mit Stefan Dreher und Victoria Hauke und Gästen

"Superimposing —" © Udo Kilian

Uraufführung Münchner Fassung Februar 2008
Muffathalle

Uraufführung Hamburger Fassung
und Premiere Mai 2008
Kampnagel

SUPERIMPOSING ist eine Produktion von Victoria Hauke und Stefan Dreher in Koproduktion mit Kampnagel Hamburg, gefördert von der Behörde für Kultur, Sport und Medien Hamburg, und Les Halles de Schaerbeek Brüssel. Gefördert durch das Kulturreferat der Landeshauptstadt München. Dieses Projekt wird ermöglicht durch den Bayerischen Landesverband für zeitgenössischen Tanz (BLZT) aus Mitteln des Bayerischen Staatsministeriums für Wissenschaft, Forschung und Kunst. Gefördert durch das Nationale Performance Netz aus Mitteln des Tanzplans Deutschland der Kulturstiftung des Bundes.

Idee/Choreographie/Tanz: Victoria Hauke, Stefan Dreher + Gäste

Dramaturgie/Regie: Inga Helfrich

Dramaturgische Mitarbeit: Katharina Oberlik

Musikalische Mitarbeit: Andreas Otto

Licht: Udo Kilian, Hans Peter Boden

Bühnenbild: Stefan Dreher, Lawrence Malstaf

Presse-/Öffentlichkeitsarbeit, Produktionsmanagement: Tina Meß

Der Begriff „superimposing“ kommt aus der Fotografie und steht für das Übereinanderlegen zweier Bilder. Die Münchner und Hamburger Choreografen Stefan Dreher und Victoria Hauke haben sich dazu entschlossen, gemeinsam ein Stück zu machen, ohne sich persönlich zu kennen. Sie sind in ihren jeweiligen Wohnorten geblieben und haben über mehrere Monate eine Fernarbeitsbeziehung aufgebaut. Kommuniziert haben sie ausschließlich per Telefon und Email. Die beiden Choreografen setzen sich mit der Erfahrung von Abwesenheit und Alleinsein – im Leben wie auf der Bühne – auseinander und begegnen sich nun in Hamburg zum ersten Mal auf der Bühne.

2007

"catch22soloA"

"catch22soloA" - Videoprint © Yolanda Gutierrez

dance solo by Victoria Hauke

With support from NPN, Nationales Performance Netz, with funds fromTanzplan Deutschland of Kulturstiftung des Bundes.

choreography/dance/stage: Victoria Hauke

dramaturgical assistance: Olaf Reinecke

sound realisation: Veit Kenner

outfit: Johanna von Renner

light design: Christian Sellin

duration: 55 Minuten

“catch22“ is an English proverb for “to be in a dilemma situation “. The term originates in the equally titled novel by the American Author, Joseph Heller (1961). Central to the novel is the principle of causal connection: the effect itself is the cause of the event or “what was there at first: the chicken or the egg ?“

In “catch22soloA“ Victoria Hauke zooms into an endless loop between the wish to go beyond sensual boundaries and the necessity, to establish structures and to permit orientation. The piece is about passion, sensuousness, orientation, structure, unsharpeness, linearity, proliferation, playing and ecstasy. Victoria Hauke plays with the renunciation of control. In always new and unpredictable ways she brings together or confronts inner movement and external demands of reality. An unpredictable turn, the surprising moment, the pursuit of an up to now unknown possiblity in movement and choreography are whirling up the relation of inner and outer spaces.

“catch22soloA“ is questioning hierarchies and standards in perception: Which criteria of body and senses are allowed to be part of the game? What turns out to be relevant?

Across the back of the stage are put up wafer-thin halftransparent walls of cellophane material, they seem to be fragile and amorph. Yet they are marking the borders of the space. The dancer keeps tracing her movement with spray on them, using those traces later as structures and references for further moves. Thus interpreting the joint venture of cause and result in her own way.

Die Welt (“The World“) (30.3.2007)

Victoria Hauke opens up scope. Since 1992 the choreographer and dancer from Hamburg is experimenting with body and movement, setting them into dialog with light, sound and variable spaces.

Movement, which, choreographically, keeps questioning itself, which keeps arranging itself in new ways, and whose motivation she uses and guides well-aimed. Like in an experimental laboratory.

For years she has been plumbing the depth of proximity to the visual arts. Galeries and exhibition spaces being her favorite performance venues.

So much more revealing it is now, to see that with the premiere of her new solo piece „catch22soloA“ in the „Hamburger Sprechwerk“, her art, returning into the fields of theatre, grows in terms of narrative power and vitality.

Hauke is exposing herself to the question of cause and effect, to the contradiction of choreographic order and physical passion, she plays with the coincidence, which keeps getting in her way.

She goes over to the sound station, starts the music. A steady long sound emerges, then hard beats come in. She is looking for a place on stage, the soundimpulses jump over into her body and she begins to dance.

Soon though, the picture turns around. Because then it`s not the music any more, that pushes her. On the contrary, she, herself, seems to guide the waves of sound with her turns and spacious swings.

Clear cuts she sets in the course of the research, not letting herself drift away.

In the back of the stage, between movable stands, a wafer-thin, almost seethrough cellophane is put up, unleashing moments of insecurity with each breath of moving air.

Later, the protagonist is dancing behind this transparent wall. A game with unsharpeness begins, which adds increasingly poetic quality and sensuousness to the dance.

Inbetween she picks up a microphone, teasing the expectation of the spectator

with phrases like: „ I am going to undress now “, indicating at the same moment, through her way of talking, the absurdity of her announcement.

She treats words like material, being sampled, they up take a life on their own, piling up in layers over each other.

As choreographer, Victoria Hauke proves to be in the best sense, a focused analyst.

Her beautiful filigree dance and her clear unpretentious performance don`t

let themselves be tied up in her youngest piece.

Along with all simplicity, it is the open handling of the material, which reveals a large number of observation spaces for the audience.

The „dilemma situation“ which the term „catch22“ describes, in the end proves to be a inexhaustible, at times even humorous experimental field
ik

"a lot of now now"

Uraufführung Oktober 2007
Schauspielhaus Hamburg, Rangfoyer
Eröffnung der Veranstaltungsreihe "Entschleunigung"

Choreographie/Tanz: Victoria Hauke

Ton: Veit Kenner

Dauer: ca. 17 Minuten

a lot of now now
da ist das Spiel mit Lust an Geschwindigkeit von Sinnesreizen, mit flimmernder Gelassenheit, mit Reizüberflutung, mit multiple tasking für den Körper, mit Zentrifugalkraft

a lot of now now
bewegt sich da, wo die Empfindungen sich umstülpen, wo die Dichte an Sinnesreizen sich mit einem großen BLOBB öffnet und Zeit länger dauert als sie dauert

"4legs" (4legs bis 4legs.five)

"4legs 2" © n.n.

"4legs 2" © n.n.

1 Performer, 1 Musiker/Videooperator

Bühne/Raum variabel/raumspezifisch

Dauer: 20 Minuten

Choreographie/Tanz: Victoria Hauke

Original Video: Anja Steidinger

Videobearbeitung/-entwicklung: Veit Kenner

Ton: Veit Kenner

4legs (1. Version), 2005 Wohnung in Hamburg-Eimsbüttel
4legs1 (Videoversion)
4legs2 (3. Version), 2005 Ladenschaufenster, 'feld für kunst', Hamburg
4legsFilm, 2005, Filmschnitt, geschichtet aus den ersten 3 Versionen
4legs4, 2007 (5. Version), 3. Norddeutsches Tanztreffen Osnabrück
4legs.five, 2007 (6. Version), 4. Norddeutsches Tanztreffen, Schwankhalle Bremen

"4legs.five" - Photos © Udo Kilian

2005 begann Victoria Hauke zusammen mit der Videokünstlerin Anja Steidinger und dem Tondesigner Veit Kenner die Performance 4legs zu entwickeln. Das Ziel war, ein Performance Format zu schaffen, in dem ein Thema über einen längeren Zeitraum unter verschiedenen Gesichtspunkten erforscht werden kann, 4legs ist seitdem zu einer Serie von Performances und Film (4legs bis 4legs.five) geworden und wird jedem neuen PerformanceOrt raumspezifisch weiter entwickelt.

In „4legs“ beschäftigen die Künstler sich mit dem Einfluss, den die architektonische atmosphärische Beschaffenheit eines Raumes auf den energetisch sensorischen Zustand des Körpers in Bewegung hat.
Es geht hierbei um die Verschränkung von Intimität und Öffentlichkeit, um Privatheit und exponiert sein.

Wie die vier Beine eines Tisches begrenzen die Eckpfeiler des exponierten Fensterkastens einen kleinen Raum von exakt den Ausmaßen des Wohnungsflurs, in dem die Choreographie entstand und die Originalaufführung stattfand, die von nur einem Zuschauer gesehen wurde. Videomaterial und Choreografie dieser Performance sind Grundlage für die nächste Performance. Gläserne Wände und die Sichtbarkeit von der Strasse her heben hier in dem Schaufensterkasten jedoch jede Privatheit auf.

Jeder neue Aufführungsort verändert die bestehende Performance durch seine spezifische Räumlichkeit, hinterlässt einen Abdruck in der Choreografie, im Video und in der Rauminstallation. Spuren von Zeiten, Orten und Bewegungen überlagern sich. Das Original rückt in die Ferne und verändert sich in der Erinnerung .

Intimes und Öffentlichlichkeit nehmen Einfluss aufeinander, treten in neue Beziehungen, räumliche Dimensionen und Größenverhältnisse geraten aus den Fugen, Wirklichkeit und Fiktion fallen ineinander.