| theatercombinat | 15.09.2007 turn terror into sport a tap-dance mass choreography with 100 citizens, maria-theresien-platz, vienna, coproduction with the tqw (a) sprache: deutsch, english, français |
| « he stopp‘d the fliers and by his rare example made the coward turn terror into sport. » a quote taken from shakespeare’s tragedy «coriolanus», in which political interests, order systems, rules, rhetoric, limbs, concepts of bodies and state collide. city – streets – forum – capitol – camps - battlefields. patricians – plebeians - the people’s representatives, senators; soldiers, officers, heroes. entertainment, revue and tap-dancing as an uprising in the city. «turn terror into sport» is inspired by busby berkeleys cinematic musicals of the 30s. brilliant entertainment turns into military synchronicity. 100 participants, 6 tap-dance teachers, 6 actors, 1000 spectators. a massive rhythmical intervention within the public space of the city. |
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concept/choreography: claudia bosse, tap-dance training: michael fischer, sabine hasicka, albert kessler, daniela kubik, nele moser, martina sagmeister, nicole rutrecht, verena schönberger, performers: jennifer bonn, aurelia burckhardt, marie-eve mathey-doret, gerald singer, christine standfest, doris uhlich, dramaturgy: christine standfest, production/pr: lena wicke, coordination turn terror into sport: jeanette picker, assistance: konstantin küspert, photography: maria mäser, konstantin küspert, intervention: guido aengenhaeyster, christine aiwasian, monika bischof, anita broser, sandra bühler, julia baader, iwona brugger, elisa colz, ingrid chlup, eva cermank, verena dreitler, liesa denk, linde dröscher, georg deutscher, michael de werd, brigitte futscher, michaela fink, sigrid fieder, susanne efhimou, ingeborg fellhofer, nadja frauenhofer, renate gärtner-horvath, alexander gastinger, daniela graf, lisa von hilgers, graziella handschuh, wiebke hebestedt, nora-anna hofmann, anna-maria huemer, johannes huemer, friedrich juschin, elfriede havlik, daniela hiesberger, helmut hammermüller, maria helm, rené huget, doris jaquemar, sigrid jungwirth, ulrike johannsen, julia jovanovic, elfriede kalusch, roswitha kauer, gerlinde kammerhofer, katharina kanter, albert kessler, brigitte kiss, petra klemenschitz, alexander klimek, georgina klimek, susanne klos, brigitte klos, anne-sophie könig, barbara korvas, veronika kritzer, christl kucera, sabine kührer, manuela linshalm, michaela landauer, karin lackner, andrea mayer, geraldine miller, daniela moser, isolde müller, nele moser, susanne muzler, astrid mayer, ingrid müller, angela nagy, gabriella nadasdy, eui nadasdy, yihui ni, uwe mattheiß, dora müller, maria ohrfandl, mariella pauls, anton payer, doris prammer, manfred panis, saskia pauls, natascha pfleger, sigrid prihoda, angela payer-bacher, susanne peterka, maria theresia pichler, elisabeth pock, ingrid pazdernik, susanna poulicek, laurentius rainer, ingrid racz, dani rechling, ulrike ralis, ewa-maria rogal, elisabeth risak, thomas scheiber, rita schiller, sabine schreib, birgit schmölzer, patrick schneider, lucia steindl, dina stojrag, verena schönberger, michaela salaba, renate schuh, esther suranyi, mirja seifert, kristina singer, marie tappero, günther tagesen, johanna thanheiser, lisa trischler, christine tasch, monika träger, maria tamas, klara tolnai, nina urschler, anna-caterina wegscheider, lydia wildauer, lena wicke, veronika wimmer, luisa wallek, carmen wild, ingrid wiederstein, andrea zeiner, carina zabini, rudolf ziegler, anna-maria zöchling a coproduction with tanzquartier wien supported by wiener linien, wohnbauvereinigung für private angestellte, österreichisches siedlungswerk, magistrats-abteilung 33 der stadt wien. theatercombinat is supported by wien kultur. |
«turn terror into sport»: citizens of vienna rehearsing rebellion. conceived as production module, the tap-dancing mass choreography was material for and public preview to shakespeare’s coriolan, which became the second part of the theatrical series tragödienproduzenten by theatercombinat. the insurgency of the street seized the halls of «thepalace» and became an element of the subsequent performance.
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