Anna Konjetzky & Co

tomorrow…we…were

tomorrow…we…were

World premiere  25./26.9.2024 / 20 Uhr / Muffathalle München

tomorrow…we…were

A dance piece by Anna Konjetzky

6 dancers deal with nostalgia, with holding on to something that is supposedly better, with looking back to yesterday but wanting to move forward. Nostalgia is currently a strong driving force again, both individually and in society as a whole, not just as an exit from an uncertain present, but as a vision of the future. The performers move in a half-pipe pulled apart, jumping up, letting themselves fall, simultaneously moving forwards and backwards in their dynamics. Yesterday / All my troubles seemed so far away – a song like a lifeline. But can we turn the past fantasy into a future fantasy?

Team

Choreography, Stage:  Anna Konjetzky // Music: Sergej Maingardt // Video, Light: Joscha Eckert // Costume: Dimos Klimenof // Dance: Matteo Carvorne, Sahra Huby, Amie Jammeh, Venetsiana Kalampaliki, Sotiria Koutsopetrou, Quindell Orton // Dramaturgical advice: Maxwell McCarthy // Stage Construction: Klaus Hammer // Pr: Simone Lutz // Production: Elsa Büsing

Partners & Support

A production by Anna Konjetzky & Co in Coproduction with Muffathalle Munich. Supporters: Cultural Department of the City of Munich, Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media and BLZT, Bayerischer Landesverband für zeitgenössischen Tanz, with funds from the Bavarian State Ministry for Science and Art.

Press

Upcoming Events

September 2024
No event found!

Past Events

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songs of absence // Reviews

songs of absence // Reviews

Anna Konjetzky «Songs of Absence»

Salzburg

der-theaterverlag.de // March 2024 // Author: Carmen Kovacs

Not every loud work is a good work – but this one is. Anna Konjetzky has something to say that must not disappear. In Munich, she and her team have been a ground-breaking institution for many years, actively seeking, facilitating and shaping local and international connections and networking within the dance scene. Songs of Absence”, which premiered at the Munich theater festival “spielart”, can be understood in the context of this exchange, as part of a queer-feminist, socio-politically anchored artistic practice.

While the focus is urgently on making voids visible, on the forgotten and repressed, this content is presented in a charming album structure. Two stand-up microphones are positioned in a semicircle of projection screens, indicating from the outset that there is a lot to say. And indeed, the text, the pronouncing and addressing, the swallowing, mutating and virtuoso morphing of words and sentences into one another play a key role. In an almost symbiotic relationship with the soundtrack (Sergej Maingardt), the phenomenal cast of seven performers leads us through embodied attitudes, personal address, ecstatic speech, rap, slogans, poetry. Some moments of expressing become a difficult birth, the movement a side effect of the meaning.

How all this looks in movement language seems secondary in many moments anyway – and yet the forms of expression are so concrete and specific that the experienced choreographic directive behind them can be clearly felt. Sometimes they are static images, beautiful complications in which the bodies slip in and out of each other, supporting and holding each other. And sometimes they are liberated dance phrases that conjure up the affirmative power of movement. At one moment you see the group obsessively working on itself. And in the next, an electric guitar being worked on by two performers with objects and made to sound in wild ways.

We experience gestures of negation, which in the collective performance become affirmative gestures of togetherness, a sisterly embrace. We watch an ensemble that has its resources under control and understands its self-empowered approach right down to the design of the light. The craftsmanship and dramaturgy are so good that at times you forget what it is actually about. Fortunately, the finale is a caring slap in the face that tells you whether you’re still there.

On the bright side of the shake

Süddeutsche Zeitung, 06.11.2023 // Authors: Yvonne Poppek/Egbert Tholl

In beautiful contrast, there is the world premiere of “songs of absence” by Munich choreographer Anna Konjetzky, conceived like an album, interspersed with strong images, cleverly positioned in a feminist way.

The art of playing

Abendzeitung München, 02.11.2023 // Author: Vesna Mlakar

Songs of absence” is full of lyrics (…) Powerful words, peppered with thoughts that continue to have an effect on her – inwardly – violently moving performance. (…) Emotionally, the whole thing escalates into an increasingly agitated enumeration that culminates in a hiccup of vowels that are merely uttered one by one. Again and again, words get stuck in the throats of the seven dancers. (…)
Anna Konjetzky is well versed in the art of playing with content and form. But the choreographer, who has been regularly staging dance pieces characterized by a socio-political debate in Munich and around the world for 18 years now, is never merely concerned with the formal. Her almost insatiable desire to impulsively and thematically capture an audience seems to be too great. And this is exactly what Konjetzky succeeds in doing thanks to her famous protagonists Sahra Huby, Amie Jammeh, Sotiria Koutsopetrou, Jin Lee, Quindell Orton, Martha Pasakopoulou and Hannah Schillinger.

lighting

lighting

World Premiere 18. + 19.9.2013, Muffathalle Munich

lighting

a dance piece by Anna Konjetzky

“Lighting” – the lighting, the infecting, the igniting – is the title of Anna Konjetzky’s dance piece, which focuses entirely on the bodies of ten dancers in the empty stage space. Ten dancers form a shimmering, pulsating mass in which the pressure seems to swell constantly. Influenced by the countless images of protest movements around the globe, “Lighting” traces the spark, the moment of falling over, the discharge. Conceived as an increase and compression, a mass is gradually building up more and more power, energy and pressure. A diffuse, uncontrollable process is set in motion and escalates in the spectator’s mind.

“Lighting also has a double face for me as a title, because object and subject both undergo an active process. When I light something, the action is no longer in my hands, but the “burning” object now creates its own process, which is completely beyond my control.”
(A. Konjetzky)

Team

Choreographer, artistic director: Anna Konjetzky // Dance: Thuy Hang Nguyen, Thi Can Nguyen, Van Luong Phan, Van Nguyen Vu, Minh Hien Dang, Viviana Defazio, Paul Hess, Sahra Huby, Michele Meloni, Quindell Orton // Music: Sergej Maingardt // Light: Barbara Westernach

Partners & Support

A coproduction with the Vietnam National Opera and Ballet, the Goethe-Institut Hanoi and the Muffathalle Munich.
Funded by the Department of Culture of the City of Munich, the Bayerischen Landesverband für zeitgenössischen Tanz (BLZT) with funds of the Bavarian State Ministry of Science, Research and the Arts, the Goethe Institute Hanoi and supported by the NATIONAL PERFORMANCE NETWORK (NPN) with funds of the Federal Government Commissioner for Culture and the Media.

Press

Upcoming Events

No event found!

Past Events

March 2023
22 Mar

lightingExpired

Wednesday, Hochschule für Musik und Tanz Köln
21 Mar

lightingExpired

Tuesday, Hochschule für Musik und Tanz Köln
March 2021
August 2019
March 2018
September 2017
November 2016
No event found!
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und weil er sich dreht, kehrt der Wind zurück

und weil er sich dreht, kehrt der Wind zurück

World premiere in January 2013

und weil er sich dreht, kehrt der Wind zurück

a dance installation by Anna Konjetzky

Konjetzky’s dance installation sends the audience on a guided tour through Jerusalem. It is a city tour without dates and sights, an abstract journey, an associative course that creates an atmospheric cityscape with the means of dance, light, video and sound. A picture of narrow alleys, surprising passages, the rapid flashing of a dome, the quick glance at a group of dancers* inside, at a crumbling graffiti. In the installation, the viewer moves between – partly movable – walls, which sometimes open the way, sometimes cut it off, separate the dancers* from each other or divide the audience. In fast light cuts rooms, images, bodies appear and disappear again. Like layers, the individual media (choreography, video, installation) glide over each other and merge into a quasi-filmic cityscape.

“und weil er sich dreht, kehrt der Wind zurück” is my attempt to take up the principles of Jerusalem and translate them into my language. What is striking is that the city is not only a real existing place, but also an intellectual one. A place that creates in most people ad hoc longings, images, opinions, feelings, in this respect the piece is also a journey into the mind of every spectator.”
(A. Konjetzky)

Team

Choreographer, Space: Anna Konjetzky // Dance: Viviana Defazio, Marie-Laure Fiaux, Sahra Huby, Paolo Baccarani, Matteo Guillin, Paul Hess, Damiaan Veens // Music: Emmanuel Witzthum // Light: Barbara Westernach // Video: Marc Stephan // Photo and Video Material: Anna Konjetzky // Project Coordination: Sabina Stücker // Technical Director: Alexander Al Akkam

Partners & Support

Funded by the Department of Culture of the City of Munich and the Fonds Darstellende Künste e.V.

Press

Upcoming Events

Past Events

13. – 14.12.2013
Tafelhalle Nürnberg
eine Tanz-Installation
23.04.2013
Muffathalle München
eine Tanz-Installation
15. – 17.01.2013
Muffathalle München
eine Tanz-Installation
20.10. – 11.11.2012
Montréal