Breve testo introduttivo. Searching for an authentic bodylanguage which allows dance to be an expression of inner movement, I did research on my own to investigate primary impulses of expression. I put aside common esthetics and perfectionisms and revealed an impulsive body expressing itself directly to give the piece form and image. In this way I created a story of „gestures“, as answers, as reactions to what touches us deeply inside. In this sense it has a social, political and cultural dimension.

Auf der Suche nach einer authentischen Körpersprache, die Tanz als Ausdruck innerer Bewegtheit zulässt, habe ich mich in dieser Arbeit von jeglicher Tanz- und Theatertechnik abgewandt und eine Ethnologie im Eigenen betrieben, um so die Sprache elementarer Ausdrucksformen zurückzugewinnen.

Dabei stelle ich der herkömmlichen Auffassung von Ästhetik und Perfektionismus einen Körper entgegen, der sich unmittelbar mitteilt. Die Kraft der Bewegung und die Wachheit des Ausdrucks gestalten Form und Bilder, werden eine Geschichte „der Gesten“, sind Antworten, sind Widerhall dessen, was uns trifft und bewegt und haben eine soziale, politische und kulturelle Dimension.

Doris Plankl, 1992

Der Tanz hat jene unausweichliche Intensität wieder gewonnen, die erst dann entsteht, wenn kein mühsames Siegerlächeln über die wahre Not hinwegtäuscht. Indem das Tanztheater das alte Thema des Ausdruckstanzes wieder aufnahm, von den menschlichen Schattenseiten zu erzählen, hat es auch wieder eine Möglichkeit gefunden, sich frei, d.h. in die Freiheit zu tanzen, denn in der Intensität des Erschreckens liegt auch die Kraft zu seiner Überwindung. Die Angst auszuhalten, ist ein erster Schritt, den Bann zu brechen, der erstarren macht, und zu einer neuen Beweglichkeit zu finden. Wer fähig ist zu trauern, dem wächst die Kraft zu, die Klage zu Anklage macht, um sich zu befreien. Dem schlägt die Trauer nur eine Brücke zur Sehnsucht, die von jeher ein Heimatrecht im Körper hat. Denn es sehnt nicht der Verstand, sondern die Seele im fühlenden Leib. Sie Iässt ihn schmerzlich erfahren, was fehlt, und spannungsvoll ahnen, was erst noch werden muss.

The dance has taken back its intensity not forcing a smile anymore trying to cover real need. Danc-theatre is picking up again the old theme of expressional dance to tell the dark side of human stories. In this way it has choosen a path of liberation. In the intensity of fright there’s also the strength to overcome it. Being in the fear is the first step to break what gets in the way to find new movement. Who is able to grieve will find the strength where complaint becomes accusational liberation. Grief is then a bridge to longing. Not the reason for longing but the soul in the feeling body, letting us know what is missing and opening a sensing for what has to come.

Norbert Servos,Tanz Aktuell,
Juli/August 1991, 6. Jahrgang Nr. IV

Alla ricerca di un linguaggio autentico del corpo, che lascia spazio alla danza per esprimere un moto interiore, mi sono staccata da ogni tecnica di danza e di teatro e ho praticato un’etnologia in proprio, per riconquistare il linguaggio delle forme espressive elementari. Alla concezione tradizionale di estetica e perfezionismo ho scelto di contrapporre un corpo che comunica in forma diretta.

La forza del movimento e la freschezza dell’espressione conretizzano forma ed immagini, divengono una storia di „gesti“, sono risposte e reazione a quanto ci colpisce e commuove, e hanno una dimensione sociale, politica e culturale.

Doris Plankl, 1992

Da dentro un richiamo che parla dell’anima e della carne, della donna che è in me.
La confrontazione con il femminile, l’ostinazione ad accettarlo, ma ciò nonostante l’irruenza di quell’immagine di donna, violenta, scura, bestiale, bizzarra, pazza, ma al tempo stesso seducente, luminosa, dal volto dolce, dai capelli lunghi, dai seni evidenti, dagli occhi sgranati. Non voglio lasciarla uscire nella sua pienezza. Io, donna, mi ribello a lei, ma lei, donna, si ribella nel mio corpo di donna.
La ribellione stanca. Stanca il resistere ad affrontare il viaggio nel inconscio, nasce l’impulso ad evocarla, ad assistere al mutamento, ad accettare la vulnerabilitá.

Il nulla cominciò a vomitare se stesso
Vomitava lentamente
Lasciava sgorgare da sè
Un’acqua grigia come fango
Un’acqua gelida sotterrane
Da quella bava, pianto di lumaca
Da quel ventre, pozzo del passato
Naque un suono, lievitò un movimento.

Brunamaria Dal Lago

Searching for an authentic bodylanguage which allows dance to be an expression of inner movement, I did research on my own to investigate primary impulses of expression. I put aside common esthetics and perfectionisms and revealed an impulsive body expressing itself directly to give the piece form and image. In this way I created a story of „gestures“, as answers, as reactions to what touches us deeply inside. In this sense it has a social, political and cultural dimension.

The dance has taken back its intensity not forcing a smile anymore trying to cover real need. Danc-theatre is picking up again the old theme of expressional dance to tell the dark side of human stories. In this way it has choosen a path of liberation. In the intensity of fright there’s also the strength to overcome it. Being in the fear is the first step to break what gets in the way to find new movement. Who is able to grieve will find the strength where complaint becomes accusational liberation. Grief is then a bridge to longing. Not the reason for longing but the soul in the feeling body, letting us know what is missing and opening a sensing for what has to come.

Norbert Servos, Tanz Aktuell,
Juli/August 1991, 6. Jahrgang Nr. IV