|BüHNE, REGIE UND CHOREOGRAPHY||HELENA WALDMANN & CRISTINA CASTRO|
|MUSIK||MUSLIMGAUZE & UBAKA HILL|
|URAUFFüHRUNG||11.9.2003 BURGHOF LöRRACH|
|DAUER DER VORSTELLUNG||60 MIN|
|ON STAGE||8 TäNZERINNEN|
Auf der Bühne ein stetig wachsender
Dschungel. Darin tanzen Wesen mit animalischen Zügen, nahezu gesichtslos, wie auf
Zeichnungen von Alfred Kubin. Sie versammeln sich, um gegen eine erdrückende Gewalt aufzubegehren. Von unglaublicher Vitalität, sind sie ihrer Erotik und ihrer Sprache entfremdet und gehorchen zunehmend den Regeln des unheimlich wachsenden Dschungels. Gewaltige Scheren, mit denen sie ihn unterwerfen wollen, richten sich gegen sie selbst. Die 'Headhunters' entstanden gemeinsam mit der Choreografin Christina Castro im brasilianischen Salvador. Entstanden zur Musik des britischen Komponisten Muzlimgauze erhielten sie im selben Jahr den Preis der Unesco.
eine Produktion von
Burghof Lörrach, Germany
Teatro Vila Velha Salvador Bahia, Brazil
Fundação Cultural Estado Da Bahia, Brazil
Goethe Institut Inter Nationes Salvador Bahia, Brazil
Caraiba Meteis, Brazil
Samson and Delila
The bible (Judges XIII-XVI) tells how Samson was promised to a bride, but the Philistines married her to somebody else. In revenge Samson burns the Philistines' harvest, so the Philistines kill his grandfather, and Samson, weaponed only with a cheak of a donkey, kills 1000 Philistines. The Philistines try to jail Samson in their city, but he breaks the city gate and carries it to Hebron. Samson falls in love to Delila, who is asked by the Philistines to uncover the roots of his indescribable power and his weak spot, which is, after a whole string of loveley tries and errors, his lion's mane. While Simson is asleep, Delila shaves his head and, indeed, he is losing his power. The philistines blind him and force him to work the mill of Gaza. But his hair is growing again, and while
he is cheated as an object of mockery at the Temple of Dagon, he got all his power back and causes the temple to collapse, killing more Philistines than ever.
Growing sisal trees
Discover that your hair is animal: Burn it! This terrible, creaturely stink of burning hair comes as a surprise, because hair in itself does not appear to feel. Which means, it does not belong to us. It is our other self, this vigorous, insensate phenomenon strikes out like an organ, like feelers and antennae, into the world beyond us. Hair belongs to the BODY, but it is as impassive as a STONE. At least it seems so. It lives in some ways disassociated from the body where it grows like a parasite, and this disconnection remains an important factor in
the large symbolic freight of meaning hair carries - as a stranger to human beings.
Mouthfolds and Tongues
Imagine a tuft of hair on your tongue. Like you find sometimes a hair in your soup. It is distusting, wonder why. Hair obviously is considered as the essence of DISGUST, the carrier of dirt, bacteria, but at the same time you
will easily find agree in, that hair is a source of DESIRE, it is sexualizing, it is a sign for beauty, power, and in almost all cultures it is or has been a female symbol for a virgin. Exceptions you will find in Africa. The tribe of the Arbore in the south of Ethopia consider only a shaved head as sexual attrractive.
Hair is living in a world with only one dimension. It grows, without getting fatter or growing in a different direction as the one it once has taken. A picture or a film have two dimensions. To introduce such a video in a dance piece means a loss of the third dimension, the dimension of the body. For this reason, we didn't cut the film, as a film editor would do it, in a two-dimensional way - linear. But we cut it in its third dimension.
A feather is hair that can fly. Remember the chicken in the film "City Of God", loosing a few feathers but escaping happily. A feather is seductive hair. Remember the peacock's wheel of feathers - mere beautyness. Feathers can
create an orgasm. Believe it - or not.
I arrived at the coast, entering the island finding some children, throwing stones at me. They were laughing, throwing more stones towards me. A habit, to check if the stranger or even a returning friend is not arriving as a ghost from a world apart, from a world of the dead. The stones should check and proof if I am alive. That is, why they were laughing so happily while I had to move quicker to escape the even bigger stones. While stones were precisely thrown at me, I had to jump, to duck, swerve to the right, dogding the blow. I felt myself in an absurd
movement. But then I recognised, how precisely they forced me with their stones. I was jumping in patterns, no, I was not jumping anymore, I was forced to dance, no, not even forced, the stones made me dancing deliberately.
Scissors and Arabesques
Obviously used in a piece on hair. But if you take a closer look to the movement of a pair of scissors, you find out: They do not only cut but dance - an Arabesque. We love Arabesques. All dancing starts with a cut. Nothing
looks better to cut the space with an Arabesque.
Shivering, shaking, itching, jiggling, flickering, trembling - we love movements which are so intense, they do not even need a space to dance.
Heads carry hair. Hair is affirmatively growing on a head which is affirmatively forced to agree in all the fate he has to face. Even if the body is disagreeing with certain circumstances, in which it is forced in, the head is miraculously forced to nod, meaning «Yes», despite the body does not like this fate. Believe me, it is the hair forcing the head to agree in all and everything.