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Tilman O’Donnell and an Eschenbach porcelain cup
Over the past three years, Frankfurt choreographer Fabrice Mazliah and his colleague Marialena Marouda have invited six fellow choreographers to enter into dialogue with a handmade object of their choice. Each duet unfolds the encounter between the two bodies and their consecutive intertwinement.
In the second duet in the series, Tilman O’Donnell is collaborating with an Eschenbach porcelain cup produced in Germany in the mid 20th century. The cup, as a container, can be said to mirror the container that is the human body. However, it has to be transported rather delicately – the fragility of its material having been used historically to signify social refinement and sophistication. This is a dance of reciprocal moulding and being moulded, pouring and being poured, during which, possibly, slowly, form appears and re-appears.
Duration: 60 min.
Language: English
Cast & Credits
Konzept: Fabrice Mazliah
Choreografie: Fabrice Mazliah in Zusammenarbeit mit Tilman O’Donnell and Marialena Marouda
Performance: Tilman O’Donnell und eine Eschenbach-Porzellantasse
Dramaturgie: Marialena Marouda
Produktionsleitung: Johanna Milz und Jeanne Vogt
Eine Produktion von Fabrice Mazliah/Work of Act in Koproduktion mit dem Künstlerhaus Mousonturm. Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Rahmen des Bündnisses internationaler Produktionshäuser.
Biography
Fabrice Mazliah
Fabrice Mazliah is a choreographer and performer based in Frankfurt / Main. Having collaborated and produced works with the Forsythe Company until its closure, Fabrice has initiated a long-term research into the embodied knowledge and heritage inscribed into practitioners in the field. He is interested in understanding and renegotiating the relationship between our environment, its objects, its atmospheres, and our bodies, ourselves and its potentialities. In his works, he regularly places the role of the receiver/perceiver in the centre of attention and celebrates the richness of possible perspectives that can be embodied on stage. His pieces provoke the collision of experiences and challenge binary views – allowing for a moment of suspension between the instants of perception and interpretation. He is interested in combining movement with language, in developing new forms of narrativity and poetry.
