Goethe-Institut Pakistan with the German Embassy in Islamabad brings
Lighting - a dance piece by Anna Konjetzky
“Lighting,” the igniting, torching, kindling, is the title of Anna Konjetzky’s dance piece in which the choreographer fixates the audience’s gaze on the bodies of the nine dancers on a bare stage. Nine dancers who form a flurrying, pulsating mass in which the pressure seems to increase constantly. Inspired by the numerous pictures of protest movements round the globe, “Lighting” simply investigates that spark, that moment of collapse, of discharge.
Konjetzky’s dance piece is thus getting progressively more intense and dense; the mass subtly builds more and more power, energy and pressure. A diffuse, uncontrollable process is set in motion and climaxes in the head of the spectators. “The title Lighting is for me double-faced because the object and the subject partake in an active process. If I set something on fire, the action does not stay under my control but creates a ‘burning’ object that continues on its own, independent from my control.” (A. Konjetzky)
Choreography: Anna Konjetzky
Music: Sergej Maingardt
Dance: Viviana Defazio, Sahra Huby, Michele Meloni, Quindell Orton, Taha Khan, Erum Bashir, Shabana Hassan, Abdul Haris Khan, Aqeel Ahmed and Sabiha Zia.
Lightdesign: Barbara Westernach
Anna Konjetzky
Since 2005 Anna Konjetzky has been creating dance-pieces and dance-installations, where the questioning and organization of the space is always very central. Her work has been shown at Spielart, Dance, Tanzwerkstatt Munich, Unidram Potsdam, Tanztage Regensburg, Festival Danse Balsa Marni Bruxelles, in Ramallah, Kampala, Nairobi, Hanoi, Istanbul, Gent, Salzburg and other places. Her dance-installation `Abdrücke` was invited in 2012 to the Tanzplattform Germany.
At the moment she works as artist-in-residence in the Muffathalle Munich and receives a 3 years support of the city of Munich. She has studied at the physical theater school “Lassaad” (Methode J. Lecoq) in Brussels as well as contemporary dance and bodyweather in Brussels and Berlin. From 2005 to 2008 she worked as the assistant of the choreographer Wanda Golonka at schauspielfrankfurt. She received several prizes and scholarships from Munich and Berlin.
“Choreographer Anna Konjetzky has uncompromisingly pursued her path of artistic research for several years. With insatiable curiosity she explores spatial arrangements, performance areas and the complex interaction of body, space and how they are perceived. Central to her work is her active input of sensory information into a space, to the effect that she abandons the classical stage area in favor of installation spaces or peep-show formats, offering views from all sides or only through gaps in a wall, such as in her latest works “Abdrücke” and “Fern”.
She intervenes in the performance with works on film and video, thereby opening up new prospects and throwing a different light on the body, showing it outside of the performance context or homing in on it in close-ups. In terms of content, Konjetzky’s work draws on the expressive force and narration provided by physical states. With her performers, she seeks the answers which the body gives in altered situations and states. The movements that then arise can be imperceptibly small – an inner and outer trembling, like in “dann still”; a flowing, virtuoso up-and-down, like in “Die Summe aller Öffnungen”; standing still or distorting the body. The body and its identity as a store of experiences form the heartbeat to Konjetzky’s pieces.
By consistently developing her own medium and her own means of expression, Konjetzky creates work which converges with fine art. In “Abdrücke”, for example, dance, video and illustration generate a source of friction between the geometric, anonymous space and the soft and malleable intimacy of the body. A dancer is confined in a mirrored glass box, trying to gauge her situation by moving within the space and doing drawings. The spectator sees into the mirrored cube, where a complex space of perception and experience is unfolded.” (Susanne Traub).
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