"If it is true that contemporary theatre and performance in general - not just within Composed Theatre - challenges the separation of the art forms that had taken place in the second half of the eighteenth century, somehow recalling or bringing forward an integrated concept of theatre, then this should also lead to changes in an educational system in which interdisciplinary courses are still very rare" - 'Composed Theatre', Matthias Rebstock, 2012
In Kontra Danse, Kagel makes a choreography based on the classical ballet that calls explicitly for “non-dancers”. We’ve all done a lot of physical theatre training, exploring dance forms in a theatrical context for previous works [see Distraction Camp - 2009]. But we are physical theatre performers, not dancers. Kagel calls for the performers to be absolutely serious (this is not to be played for laughs) in their work towards achieving the form he requires. We are working on the ballet positions, port de bras, plies, pirouettes. The idea is to find a vocabulary of movement that can be assembled in various ways, later, with the musicians.
In Kontra Danse, Kagel makes a choreography based on the classical ballet that calls explicitly for “non-dancers”. We’ve all done a lot of physical theatre training, exploring dance forms in a theatrical context for previous works [see Distraction Camp - 2009]. But we are physical theatre performers, not dancers. Kagel calls for the performers to be absolutely serious (this is not to be played for laughs) in their work towards achieving the form he requires. We are working on the ballet positions, port de bras, plies, pirouettes. The idea is to find a vocabulary of movement that can be assembled in various ways, later, with the musicians.
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