Performance Lectures (2025)

Dedications

and fragmented Subjecthood

These days I’m talking with some of my
peers exploring various theoretical
concepts. In the performance I will
dedicate my dance to them.

Do what you gotta do

Let's see what it does.

Choreography and performance

Carla Anacker

Some    thing    for me to believe

Is a play on a play - A study of the solo (performer), as the mediator and possible creator of myth (ology). 

The piece unfolds as research on performance as translation, “acting itself out” as a self-conscious spectacle that performs its own gesture of becoming.

The performer inhabits both the role and its reflection, always shifting. The myth unfolds as a score, staged yet fragmented.

Some   thing    for me to believe  is based on a choreographic manuscript authored by Inaja K. Skands, continuing on her interest in developing choreography through written material. 

Choreography and writing

Inaja K. Skands

Performer

Inaja K. Skands

Acting consultant

Julie Carlsen 

Wait, wait, (tomato), hand

How do you embody a tomato? How is time distributed between us? How can I feel Fatimas hands? 

credits

Fatima Saf provided her embodied knowledge of tomato cultivation in the Plastic Sea.

Selma Blanken provided her MA thesis “A global Roundabout - Entangled im/mobilities of ir/regular labour migrants and agricultural products in Almería’s greenhouse production”, as well as translation.

Ruth Cross provided her extensive knowledge of performing arts, connections as well as translation.

Four Dances in Three Acts

In Four Dances in Three Acts I am busy with dance and words - their organisation, their spaces, their ways of coming together or not. As I try to walk the distance between dance-making and language, it gets foggy and I lose the path.

CHOREOGRAPHER AND PERFORMER 

Ottavia Catenacci

0

0 confronts complete rest through the framework of an impossible instruction.
Through the body under prolonged stillness, the work explores the tension between rest, refusal, and societal pressure. The performance lecture moves through contradictions between exhaustion and attention, rage and care, surrender and control, observation and resistance. Emerging as a fever dream, the work drifts between banality and extremes, taking on death therapy as a method to test presence and endurance — embracing failure as a form of insight.

Choreographer and performer

Thjerza Balaj

Dramaturg

Lea Fedida Claussen

Sparring partner / outside-eye

Angela Bundalovic