Iceland Dance Company returns with the award winning show BLÆÐI: obsidian pieces. A unique evening of dance, staging the works of Erna Ómarsdóttir, Damien Jalet and Sidi Larbi Cherkaoui. The show premiered in May at the 29th Reykjavik Arts Festival and received raving reviews from both critics and the general public. Because of high demand BLÆÐI: obsidian pieces returns as a part of Lókal/RDF 2015
The past few years dancers / choreographers Florentina Holzinger and Vincent Riebeek created a vivacious trilogy with the duets Kein Applaus für Scheisse (2010) and Spirit (2012), and the group performance Wellness (2013). After a few digressions (they f.i. both made a performance separately), they create a new duet together: Schönheitsabend.
A series of novels never written / Ragnheiður Sigurðardóttir Bjarnason & Snæbjörn Brynjarsson (Reykjavík)
Since before he even could read Snæbjörn wanted to become a writer but then he married Ragnheiður who is absolutely convinced he is actually a dancer stuck in a writer´s body. Or maybe a choreograph even.
It’s all in how we see the world.
And how we move forward.
Cranes become dancers.
A monument of delicate strength.
Turning thirteen - everything changed. We got teenage, we got problems, we got loved, and then we got loved again by someone else. We got to know things about things that you’ll never know, because we’re teenage girls and that’s not something just anyone can say. Because it’s only us that can be teenage girls, and only us that know what that means.
LANDLINE is a performance taking place at once in two places. Participants walk city streets, listening to an audio guide and conversing in real time with a stranger in a different city using text messaging. You are both audience and performer engaged in a game of unlikely rendezvous.
ETERNAL PIECE ON DREAM AND REALITY takes place in an abstract spot, beyond time and space. What is more real; things that happen in people´s minds or out in the world? Are we really in sync? Who´s experience is this? Does anyone care?
In order to be strategic we have to know the game. We start to move and the music begins to play. When the wave hits you, each of you in your own account, it bounces back and at this very moment produces a new sound. We engage in a collective activity with personal intentions. It seems like no one in this room is responsible for anyone else, yet we can’t do it alone.
In the winter of 2012, two famous American performance artists sat in anonymous hotel rooms on the West Coast, waiting to take the stage, and in a bizarre coincidence, over-dosed on the anxiety drug Xanax. One survived, one did not. The two individuals are Whitney Houston, who tragically died, and the author of this piece, who lived.
The piece is an investigation into the meaning of words and actions and offers the concept that words and actions can only be understood reading the whole context of where they fall. The text used in the performance is a very short scene from The Dance of Death by August Strindberg.
,, There are 25 years since I was born in 1988. There are 35 years since the revolution, when Iran became an Islamic state. There are 35 years since women are obliged to wear hijab, since censorship was brought on, since freedom was restricted. There are 35 years since everything changed. And even though things were bad before , they got even worse’’.
Macho man is a solo creation for the dance artist Saga Sigurðardóttir. It is inspired by how the masculine body is choreographed in society. A female perfomer executing masculine vocabulary creates resonance between two bodies on stage, the body of the performer and the body of the choreography itself.
In Greek Mythology Atlas was the one condemned to stand with the
Earth and Heavens on his shoulders. to turn the theater back into a political space. 100 people on stage.
A landscape of people with different kind of professions, claiming their position on society, individually as well as in group, mapping a sort of 'atlas' of the complex cohesion of a social tissue.
A quiet revolution. A work motivated by the belief that art should play an active role in society. Uniting art and life.
Firsts is a series of works by merging Icelandic dance and performance makers. The creators are Gígja Jónsdóttir, Guðrún Selma Sigurjónsdóttir, Anna Kolfinna Kuran and Björn Leó Brynjarsson. All the performances take place at Smiðjan, the student theatre of the Iceland Academy of the Arts.
ETERNAL PIECE ON WAR AND PIECE is an attempt to turn human nature inside out and explore man´s proneness to turmoil and fight. Based on true facts, it´s an exploration into the dark side of human nature.
Oscillating between anarchy, sit-com and Samuel Beckett, Kriðpleir Theater Group takes on different and – at times – completely unmanageable projects, driven by the members´ desperate longing for truth, social acceptance and respect.
The piece is an investigation into human nature. It is a template on the art of manipulation. It questions power structures and it questions the driving force of human society.
Milkywhale is a brand new music project by choreographer Melkorka Sigríður Magnúsdóttir that dismantles the boundaries between a concert and a performance. Together with musician Árni Rúnar Hlöðversson they have created a series of pop songs, a visual trip through soundscape and choreography. This epic concert features trivial things like love, trampoline exercises, whales and white animals.
A true story: Rosemary Brown, widow and mother of two, lives in a town house in Balham, South London. In November 1964 the ghost of Franz Liszt visits her and asks her if he could dictate a couple of compositions to her which he could not finish in his lifetime. Brown who does not have a musical education, agrees. Shortly after this incident, Johann Sebastian Bach comes to her with the same wish – and immediately after this there are Johannes Brahms, Sergei Rachmaninoff, Edvard Grieg, Claude Debussy, Robert Schumann, Ludwig van Beethoven – joined later by John Lennon and Albert Einstein.
In the ETERNAL PIECE ON LOVE AND THE LACK OF IT the Professional Amateurs invite the audience to think about love.
Giselle is hemmed by darkness and has an almost apocalyptic wildness where we witness the unravelling and morphing of various characters from the world of ballet. We are confronted with the hierarchies within the language of ballet: it’s technique and pantomime, the distortion of the narrative through score making, the blurring of the roles between male and female, prima ballerinas and corps de ballet. Where princes turn into trees that turn into eagles that turn into farmers that turn into Wilis that turn you inside out.
Margrét Bjarnadóttir will open Reykjavík Dance Festival this August.
An encounter with three workshops between local and international artists who seek to explore the impact of nature on theatre and performance.
FIELDWORKS invites 27 professional performing artists, who seek to develop, cultivate and enrich the Nordic performance scene with inspiration from the remarkable Icelandic landscape.
LÓKAL and Reykjavík Dance Festival are co-operating closer then ever before. We are super excited about this development. The cahoots includes co-presenting all of the international program for the festivities in August, being joint members of the European Networks Festivals In Transition and APAP, and working on future collaborations under the heading "Into the City - Onto the Stage".