SPONTANEITÄT IN PERFORMANCE UND DRAMA (ABECEDARIUM) - Marita Tatari - 2019

Ein Ausschnitt aus dem unveröffentlichtem Vortrag über Spontaneität und 'Abecedarium Bestiarium' von PD Dr. Marita Tatari.

 

Hier finden Sie den Ausschnitt als pdf: Spontaneität in Performance und Drama.pdf

TRACES OF PLACES (MY DOG IS MY PIANO) - Anneliese Ostertag - 2019

An introduction to MY DOG IS MY PIANO written by Anneliese Ostertag as part of the publication of en plein air, Ethnographies of the Digital by warehouse industries.

 

Pujan Karambeigi, Anneliese Ostertag, Tabea Rossol, Pierre Schwarzer, Lukas Stolz (eds.)

ein plein air. Ethnographies of the Digital

Spector Books, 2018

ISBN: 978-3-95905-231-3

 

You can find the online publication here: warehouse industries

VON DER DARSTELLBARKEIT DES ANDEREN (FOR FACES) - Mayte Zimmermann - 2017

Die Darstellbarkeit des Anderen ist eine der zentralen Fragen der Theatertheorie und -praxis. In einer theaterwissenschaftlichen Lektüre philosophischer Positionen im Anschluss an Levinas und einer detaillierten Betrachtung von fünf szenischen Arbeiten stellt sich Mayte Zimmermanns Untersuchung dieser Problematik und nimmt szenische Rücksicht auf die Grenzen von Darstellbarkeit.

 

Sie zeigt: Dem Auftritt als erkenn- und verstehbarer Figur, in deren Namen (Darstellungs-)Politik betrieben werden kann, wohnt automatisch Gewalt inne – solange nicht nach dem gefragt wird, was in der Darstellung qua ihrer Formen Anderes bleiben muss.

 

Im Kapitel Vor dem Gesicht (Seiten 142-172) untersucht Zimmermann die Voraussetzungen von (An)Sprache in Antonia Baehrs FOR FACES.

 

Mayte Zimmermann

Von der Darstellbarkeit des Anderen. Szenen eines Theaters der Spur

transcript Verlag, 2009

ISBN: 978-3-8376-3879-0

 

Das Buch ist hier erhältlich: transcript Verlag

ENTRETIEN AVEC ANTONIA BAEHR (ABECEDARIUM) - Cécile Schenck - 2017

Un entretien par Cécile Schenck avec Antonia Baehr autour d'ABECEDARIUM BESTIARIUM.

L'entretien est apparu dans LIGEIA, dossiers sur l'Art: Art & Alphabet (N° 153-156, janvier - juin 2017)

 

Vous trouvez l'entretien ici: Ligeia

SINGULARITIES‚ DANCE IN THE AGE OF PERFORMANCE (MY DOG IS MY PIANO) - André Lepecki - 2016

How does the production of performance engage with the fundamental issues of our advanced neo-capitalist age?

André Lepecki surveys a decade of experimental choreography to uncover the dual meaning of ‘performance’ in the twenty-first century: not just an aesthetic category, but a mode of political power. He demonstrates the enduring ability of performance to critique and subvert this power, examining this relationship through five ‘singularities’ in contemporary dance: thingness, animality, persistence, darkness, and solidity.

Exploring the works of Mette Ingvartsen, Yvonne Rainer, Ralph Lemon, and Antonia Baehr (on pages 101 -114), Lepecki uses his concept of ‘singularity’—the resistance of categorization and aesthetic identification—to examine the function of dance and performance in political and artistic debate.

 

André Lepecki

Singularities. Dance in the Age of Performance

Routledge, 2016

ISBN: 978-1138907713

 

You can find the book here: routledge

 

MISSES UND MYSTERIEN - Nanna Heidenreich - 2015

"Ein Stuhl, ein Haus, eine Picknickdecke. In einem von Vorhängen umgebenen Schaukasten, eine Bühne auf der Bühne. Zwischen der Bühne und dem Publikum: Andrea Neumann und ihr Innenklavier sowie die Sprecherin. Hier entsteht der Ton und mit dem Ton das Hörbild, das auch eine Choreographie ist, ein Live-Hörspiel, das auf der Bühne stattfindet während es davor gesprochen wird. ..."

 

Der Text ist hier als pdf erhältlich: Nanna Heidenreich, Misses und Mysterien.pdf

TEXT COLLECTION ON SARMA.BE - Jeroen Peeters‚ Wendy De Pauw and Tom Engels - 2013

On the occasion of the Oral Site publication by Tom Engels and Tessa Theissen More Than One Tie in April 2013, Sarma compiled a small collection of texts on the work of Antonia Baehr.

The collection includes interviews and essays on practice by Antonia Baehr herself and some of her close collaborators, such as Wiliam Wheeler, Andrea Neumann and Sabine Ercklentz. Next to reviews and essays by writers affiliated with Sarma, such as Constanze Klementz, André Lepecki and Jeroen Peeters, the collection includes several texts that are published here for the first time. These comprise the letter and the script of Facing For Faces, a dialogue presented by Baehr and Klementz at Mousonturm in Frankfurt in May 2011. The unabridged version of the dialogue by Antonia Baehr and Xavier Le Roy printed in Baehr's book Rire/Laugh/Lachen (2008) is made available here in French and English. As a whole, the collection is complementary to the large selection of reviews available on Antonia Baehr's website.

Credits
Editor Sarma: Jeroen Peeters
Editorial assistance: Wendy De Pauw and Tom Engels

 

You can find the collection of texts here: www.sarma.be/pages/Collection_Antonia_Baehr

TO BE DONE WITH ABSURD EXISTENCE - André Lepecki - 2013

Here you can find almost a little book that was dristibuted to the public during the two and a half months program: "make up - At Antonia Baehr and Werner Hirsch's Table" in Beursschouwburg in Brussel in March, April and May 2013. The text, written by André Lepecki, is on Antonia Baehr's works and goes along with pictures of different productions of Antonia Baehr.

 

Tobedonewithabsurd.pdf 

 

INDEX OF MAKE UP PRODUCTIONS - Beursschouwburg Brussels - 2013

Here you can find a first version of an index that collects all informations, publiations, works about the make up productions. There is also a book edited by the Beursschouwburg, with all complete articles that are quoted in the Index. This Index was made during the presentation of make up works: "make up - At Antonia Baehr and Warner Hirsch's Table" in Beursschouwburg in Brussel in March, April and May 2013. 

 

index.pdf

 

CHÈRE ANTONIA‚ VALÉRIE ET SYLVIE (ABECEDARIUM) - Arantxa Martinez - 2013

 fr.

E-mail by Arantxa Martinez, performer and choreographer, friend of Antonia Baehr and make up productions, written the 19th of May 2013 after seeing the performance Abecedarium Bestiarium.

 

Here you can find the mail in a pdf format : 

Chère Antonia, Valérie et Sylvie.pdf

TRACING THE FOREST TARPAN (ABECEDARIUM) - Isabell Spengler - 2013

engl. / de.

The piece was created in the context of ABECEDARIUM BESTIARIUM, a production by make up productions, and was conceived for Antonia Baehr as the performer.

 

On this webpage you can find out more about the live film performance by Isabell Spengler.

MY DOG IS MY PIANO - Nanna Heidenreich - 2012

Ein Hund und eine Frau wohnen im selben Haus. Es, das Haus, behaust wiederum den Hund und die Frau. Früher einmal, da haben auch die beiden Töchter der Frau dort gewohnt. Manchmal kommen sie zu Besuch. Die eine Tochter bringt dann immer Hüte mit, und Aufnahmegeräte und eine Pfeife.

 

Here you can find the complete text in a German version

Nanna Heidenreich, My Dog is My Piano.pdf

 

Here you can find the complete text in a French Version

Nanna Heidenreich, My Dog is My Piano.pdf

 

TOXIC - Pauline Boudry and Renate Lorenz in Le journal des Laboratoires d’Aubervilliers - 2012

This articles of Pauline Boudry and Renate Lorenz presents their film "Toxic" played during the three-yearly film program of the Palais de Tokyo in Paris.

 

Toxic.pdf

CHOREOGRAPHING RELATIONS (HOLDING HANDS) - Petra Sabisch - 2010

Choreographing Relations undertakes the experiment of a conceptual site development of contemporary choreography by means of practical philosophy. Guided by the radically empiricist question "What Can Choreography Do?" the book investigates the performances of Antonia Baehr, Juan Dominguez, Xavier Le Roy, and Eszter Salamon, and the philosophical works of Gilles Deleuze and Félix Guattari. It establishes a relation between these practitioners as an encounter in method, and develops method as a singular, material and experimental practice. In view of these singular methods and the participatory relations to which they give rise, Choreographing Relations offers a prolific inventory of arepresentational procedures that qualitatively transformed choreography and philosophy at the turn of the twentieth century.

 

The book contains a chapter on Antonia Baehr's HOLDING HANDS (p. 188-208).

 

Petra Sabisch:
Choreographing Relations
Practical Philosophy and Contemporary Choreography
epodium Verlag, 2010
ISBN 978-3-940388-20-9

 

You can find the book here: epodium Verlag.

NOT NOT A LECTURE #2 (FOR FACES) - Constanze Schellow - 2010
In ihrem Stück „for faces“ (2010) entwirft Antonia Baehr Mikro-Choreografien für vier Gesichter. Im Kreis um die PerformerInnen herum platziert, sitzt man diesen direkt gegenüber – zu nah für die comfort zone Theaterparkett und zu weit entfernt, um die mimischen Umwälzungen auf dem Gesicht des vis-à-vis genau zu identifizieren. Das ‚Antlitz’ wird zur Bühne, auf der sich das Zuschauen selbst in seiner Intimität und Aktivität, Öffnung und Gewalt als theatrale Handlung par excellence sehen lässt. Choreografisch um ihre Entzifferbarkeit als schlüssige Mimik gebracht, setzen die Gesichtsbewegungen einen Zoom der Aufmerksamkeit in Gang, der die PerformerInnen ebenso als Personen vor unseren Augen verschwinden lässt wie er sie dem Sehen radikal zur Verfügung stellt. Die Tanzwissenschaftlerin Constanze Schellow und die Choreografin Antonia Baehr schlagen ein gemeinsames Format vor, um „for faces“ in Abwesenheit des tatsächlichen Stücks zu reflektieren. „facing for faces“ fragt angesichts der konkreten künstlerischen Arbeit auch danach, was Theorie und Choreografie einander und über einander zu sagen haben.
 

You can also see the article here: Tanzlabor 21

FOR FACES - Tom Engels and Lindy Annis - 2010

engl.

Four faces emerge from the darkness. Bathed in soft light, these faces form the center of a small arena in which the audience is seated. Like a landscape that moves through the seasons, the faces gradually transform.

 

Here you can find a complete version of the original text in English:

For Faces.pdf

 

it. 

Quattro visi emergono dal buio. Avvolti nella luce soffusa, sono il centro di una piccola arena in cui è seduto il pubblico.

 

Here you can find a complete version of the Italian translation :

forfacesEngelseFonti.pdf

 

AUTOBIOGRAFIA DI TUTTI (FOR FACES) - Silvia Fanti - 2010

it.

For Faces, four faces, sono vicino-lontano, sono fronte-lati-nuca, sono scia fisiognomica. All'inizio: l'ovale del volto, il sembiante, è uno spazio in cui vagare, passeggiare, attraversare, distrarsi.

 

Here you can find the text in a full pdf version :

Autobiografia di tutti.pdf

BETWEEN SOLITAIRE AND A BASKETBALL GAME  (FOR IDA / FOR FACES) - Tom Engels - 2010/2012

Dramaturgical Strategies in the Work of Antonia Baehr 

Interview between Tom Engels and Antonia Baehr on her film "For Ida" and her choreographic piece "For Faces", published in Bastard or Playmate? Adapting Theatre, Mutating Media and Contemporary Performing Arts.

 

Robrecht Vanderbeeken, Christel Stalpaert, David Depestel, Boris Debackere (eds.)

Bastard or Playmate? Adapting Theatre, Mutating Media and Contemporary Performing Arts

Amsterdam University Press, 2012

ISBN 978 90 8964 258 5

 

Here you can find the pdf version of the text : 

Between Solitaire and a Basketball Game.pdf

 

 

FOR IDA‚ A SELF-PORTRIAT - SYNOPSIS - Antonia Baehr - 2011

"For Ida is a choreographic self-portrait shot with the home technology of the videophone (Skype) and a laptop’s internal camera. As a “performance for the camera”, the film’s articulation unfolds by sole means of choreographic language, as a game of solitaire without words, without added time effects or manipulation—which means there aren’t any cuts either."

 

Here you can find a pdf version of the Self-Portrait :

For Ida.pdf

THE EMPRESS OF SOUND - 5 SOLI FÜR/VON ALVIN LUCIER - Verena Eitel - 2011
As part of the third edition of the e-journal

MAP - Media | Archive | Performance
 
TWO FRIENDS AND MORE THAN FOUR WALLS - Antonia Baehr and Isabell Spengler - 2010

The following text is a transcribed and slightly revised version of a lecture on relationships between performance and film, held by Antonia Baehr and Isabell Spengler at the 60th Berlin International Film Festival on February 12, 2010, in Arsenal Cinema 1.


TwoFriends.pdf

POST PORN POLITICS - Werner Hirsch‚ William Wheeler‚ Ed. Tim Stüttgen - 2009

The concept called "post-porn" was invented by erotic photographer Wink van Kempen and made popular by sexwork-activist and performance artist Annie M. Sprinkle. It claimed a new status of sexual representation: Through identifying with critical joy and agancy while deconstructing its hetero/normative and naturalising conditions, Sprinkle made us think of sex as a category open for use and appropriation of queer_feminist counter-pleasures beyond the victimising framework of censorship and taboo.

 

This book contains numerous contributions by artists, theorists and activists. It includes a text by William Wheeler My costumes got me interested in different kinds of sexuality, because they made me touch my body differently! (p. 312-323) and another by Werner Hirsch Laughing is loud and dirty (p. 324-331).

 

Tim Stüttgen (ed.)

PostPornPolitics. Queer_Feminist Perspective on the Politics of Porn Performances and Sex_Work as Cultural Production

b_books 2009

ISBN: 978-3-933557-76-6

 

You can find the book here: b_books

ON APPLAUSE (RIRE) - Lars Kwakkenbos - 2008

"On applause" is a text written by Lars Kwakkenbos about the notion of applause in theater and society today. He reffers to the history of this gesture and to his evolution in time. For him, the spectateur through the applause can also be seen as the "guardien du réel" as he compares it with the piece "Laugh" from Antonia Baehr.

 

Here you can find a pdf version of the text

Onapplause.pdf

AFFEKTE OHNE ZUORDNUNG - ZONEN DES UNBESTIMMBAREN (RIRE) - Gerald Siegmund - 2008/2010

Zu den Choreographien von Antonia Baehr

 

In the book "Lücken Sehen", that was edited for the 66th birthday of Hans-Thies Lehmann, Gerald Siegmund wrote a publication on "Laugh" of Antonia Baehr. Between a telling story of the construction of the piece and a try to analyse it, Gerald Siegmund gives a very fine description of the choreoraphic process of "Laugh".

 

Here you can find a pdf version of the publication

GeraldSiegmund.pdf 

LACHEN - MANIFESTATION VON KLANG UND KÖRPER - Antonia Baehr - 2008/2009

Essay written for the journal "positionen. Texte zur aktuellen Musik - Menschenbilder" Nr. 80 August 2009. Pages 22-23. (in German)

 

Here you can find the pdf version of the text :

Positionen.pdf

RIRE‚ LAUGH‚ LACHEN - Xavier Le Roy - 2008
RIRE - Lindy Annis in Journal des Laboratoires d'Aubervilliers - 2008
WALK + TALK - Oral Site - 2007

Oral Site is a new open source software and platform that Myriam Van Imschoot initiated as part of her artistic work on orality, transmission and interview archives. In 2011 it has been developed by a team of coders, writers and sound specialists of Sarma, Constant and Rits, who share an interest in oral and experimental publication formats.

Oral Site enables users to read, edit and publish online multimodal publications that merge sound, image, text and graphics. Oral Site is both an instrument and a place where one can "expand" publication within an environment that encourages contributors to move beyond the classical written form and to practice new ways of dealing with text, orality, visuality, graphicality, temporality, spaciality, performativity etc.

Website : Walk + Talk

ALLES IST GEREGELT - Constanze Klementz - 2010

Text published in the Catalogue: 'Deutsche Tanzplattform 2010', 25.-28.2.2010, Nuremberg


CKlementz Alles ist geregelt Eng.pdf
CKlementz Alles ist geregelt German.pdf

POST-MERCI POUR MAUD (MERCI) - Antonia Baehr - 2006

An e-mail wriiten in french on the December 24th 2006 by Antonia Baher to thank Maud Desseigne, after the performance. Une collection inachevée de mercis ...

 

Here you can find the text in Pdf : 

mercipourMaud.pdf

MERCI - Aude Lavigne - 2006

fr.

« Merci » est un autoportrait qui n’est étonnement pas, comme le genre le dicte habituellement, un portrait de la chorégraphe par elle-même.

 

Here you can find a pdf version of the text :

Merci.pdf

JE SUIS UNE FICTION / DES JEUX D'ITENTITÉS (MERCI)- Alexandra Baudelot - 2006

engl. & fr.

"If Merci is a choreographic work, it is because it uses gesture and repetition of choreographic material as motor elements of its reflection on gender identity. Absurd and nevertheless familiar gestures are performed with a pleasure that the artist never hides. The execution of a gesture is therefore not performed for itself, but in order to reveal the intimate dynamics of the artist and her way of confronting them."

 

Here you can find the pdf version of the text in its original language in french : 

Je suis une fiction/ Des jeux d'identités.pdf

 

Here you can find the pdf version of the text translated in englisch by Alice Chauchat and Goeffrey Garrison :

I am a fiction / Identity games

 

MERCI - PROGRAM NOTES- Valérie Castan and Antonia Baehr - 2006

This program was written by Valérie Castan & Antonia Baehr

 

Here you can fin the program in a pdf version :

Merciprogram.pdf 

 

This program was written in french for the perfomance "Merci" in Nyon

 

Here you can find a pdf version of the program written in french

MerciNyon.pdf

LARRY PEACOCK SONGTEXTS - Ulf Sievers‚ Land and Henri Fleur - 2005

LET HER HAVE IT

 

I would like to say something as an homage
to all the women on stage, all these ladies.
It’s so nice to see a growing female presence
nowadays in music.
 

It’s so nice also because it’s not just singers,
they’re actually using electronics,
all these female musicians,
and they go for the experiment.
They really have a lot of energy, they really have speed,
and something to say and they’re not afraid
to say it out loud.
They don’t hide behind their computers but dare to be sexy.
 

stay – go – come – sit – sit down – hold it – hold it,
get it, get it, drop it – nose it – drop it – come!
 

I love all these chicks, they just rock the place
and they scream their guts out and they break
their voices and their instruments.
They’re not ashamed to show who they are:
wonderful, beautiful persons - and smart!
And even not afraid to show their bodies!
 

Let her have it.
 

Say: “No”, say: “No”
Then say: “Red, drop it!” and praise her when she does.
 

Say: “Red, come, bring it!”,
and praise her when she does.
Lightly slap Red’s nose, tell her she’s bad, she’s bad,
and remove the sock from her mouth.
 

Yes, let them have it...
Let them take over the electronic world...
Let the chicks take over the music biz,
with their physiques, their moves, their glamour,
their tits and their asses...
 

stay – go – come – sit – sit down – hold it –
hold it, get it, get it, drop it – nose it – drop it – come!
 

 

POLSTER

 

I like you but I cannot ride you,
why can’t you be only a little bit like a horse
or at least like a cow or better than nothing like a car?
 

Fly, flow, flee me!
Fly, flow, flee, fly flow flee me!
 

Where is the position I can sit on you, Polster,
where is your body, buddy?
 

Stick and stay without a key
Would you get into my knee,
Bring it down please to the ground
While it drives you to my mound
 

Wann werden wir den Fummel zusammen tragen?
Den Fellfummel mit 4 Ein – und 2 Ausgängen;
Der mit dem grossen Segelbein für 3 –
Wie werden wir hinein kommen, und wie hinaus?
 

I liked you but I couldn’t ride you

You couldn’t be like a horse, you couldn’t be like a cow

and you could not even be like a car.

Pff!

 

 

DER TONANGEBER UND DIE TANZENDEN TONABNEHMER

 

Ich bin der Tonangeber

Ich bin der Klanghalter

Ich bin der Halter ohne Halfter

Ich bin der Lachsack

Ich bin der Fetischist mit Twist

Ich bin der Krampfsack

Ich bin der Lachhalter

Ich bin der Klangsack

Ich bin der Krampfhalter

Ich bin der Fetischist mit Twist

Ich bin die elektrische Blume
 

 

MY ALPHABET

 

A is for Anus and Angel
B is for Beard
C is for Chap, Charm and Comrade
D is for Dentures, Dildo and Dike
E is for Exquisite
F is for Face flannel and Fabulous
G is for Gastronomy and Gambling
H is for Hallucinatory and Hunting
I is for Island
J is for Jacousy
K is for King and cravat-needle
 

This is my alphabet, my alphabet in pant suit
This is my alphabet, the Trouser Semaphore
 

L is for Leisure and Lesbian
M is for Mellowing with age and Mescaline
N is for No reason
O is for Oooh
P is for Pleasure and Pyjamas
Q is for Queer Quivering Quotidian
R is for Reckless
S is for Sublime... and Summer holiday...
 

Across the floor of a crowded cocktail gathering you too will be able to convey your innermost thoughts! Revolutionary sentiments and deepest needs to like minded individuals, Using nothing more than the flexibility of your physique andthe ruff pliability of your trouser cloth! Surely there is no sight more moving than a man and three square yards of carefully tailored cavalry twill, moving in perfect harmony!
 

T is for Toilet water and Tentative Tentacle

U is for Upper-lip shrubbery

V is for Vanity and Vulgaroisy

W is for Weeping and Wrestling

X is for X chromosome

Y is for Yacht and

Z is for Zoo

CAT CALENDAR - Marc Siegel - 2005

engl.

"I remember being about ten years old when I told my mom and dad that I thought Stubby, our dog, and Stella, my grandmother, had the same cute eyes and facial expressions. Upon hearing her mother-in-law being compared to a dog, my mom laughed with satisfaction, while my dad looked on in embarrassment."

 

Here you can find the complete version of the text :

CatCalendar.pdf

MAXIMILIANS DARKROOM - Stefanie Schulte Strathaus - 2005
engl.
"Their performance begins on stage and ends in a video installation. The viewer – his head still in the box – wonders how the rest of his body, below his head, must look to those who pass him to enter the real cinema he is in front of. But he can’t change his posture without destroying the architecture of his movie theater and missing the film, to boot. But has his shirt pulled out of his trousers as he’s bent over? Or is her skirt too short? Iacob dances in the picture’s foreground."

 

Here you can find the complete version of the text :

Maximilian's Darkroom.pdf

RESTS IN PIECES - Myriam van Imschoot - 2005

Essay first published in the June journal Multitudes (nr 21, p.107-116), for which Ludovic Burel and Myriam van Imschoot made a special issue on scores and notations. The text was an accompanying essay to a collection of materials from Vincent Dunoyer, William Forsythe, Thomas Lehmen, Jérôme Bel, Myriam Gourfink, Antonia Baehr, Lisa Nelson, Jonathan Burrows & Matteo Fargion.

RestsInPieces_Myriam VanImschoot.pdf

 

On this website you can find a french version of the texte : RestinPieces.fr 

CHARMING RIDICULOUS WERNER - Marc Siegel - 2007

Text about Werner Hirsh written by Marc Siegel in 2007

RidiculousWerner.pdf

ANTONIA BAEHR ON SCORES - Antonia Baehr‚ Myriam Van Imschoot and Ludovic Burel - 2005

A conversation with Myriam Van Imschoot and Ludovic Burel (2005)" published on Oralsite (2011)

 

Oral Site is a new open source software and platform that Myriam Van Imschoot initiated as part of her artistic work on orality, transmission and interview archives. In 2011 it has been developed by a team of coders, writers and sound specialists of Sarma, Constant and Rits, who share an interest in oral and experimental publication formats.

The annotated interview "Antonia Baehr on Scores" is part of the publication “What's the Score Publication”. It was edited by Tom Engels, Myriam Van Imschoot.

 

UN APRÈS-MIDI - Valérie Castan - 2005

fr.

Text by the French dancer and choreographer Valérie Castan about the performance "Un après-midi". Written after the presentations at the festival "100 Dessus Dessous" in Paris in April 2005.

 

Here you can find the text in a pdf version :

texteVCastan.pdf

SOLO FOR READING BODIES (UN APRÈS-MIDI) - Petra Sabisch - 2005

Essay reflecting on Antonia Baehr’s and Henry Wilt’s performance "Un après-midi." It was first published in Frakcija, Performing Arts Magazine, Vol. 36, Summer 2005, pp. 126 -137.

 

Here you can find the text in a pdf version :

Petra Sabisch - Solo for reading bodies.pdf

UN APRÈS-MIDI#17 - PROGRAM NOTES - Beursschouwburg‚ Brussels - 2005/2013

Program of "Un après-midi' for the evening of the 22.03.13 for the  "make up - At Antonia Baehr and Werner Hirsch's Table", in Beursschouwburg, Brussels

 

First page of the program.pdf

Second page of the program.pdf

HOLDING HANDS - William Wheeler and Antonia Baehr - 2001

engl.

"Here we stand holding hands. You are so cute - and you are too. We have obviously different personalities but we are holding on to and beholden to each other. Sometimes  I think our hair is really the same color. But your center of gravity is somewhere else than mine. The more synchronized we appear, the more differences get visible. Whose will are we following? We form a singular organism with one or two minds."

 

Here you can find the text in a pdf version:

HoldingHandsI.pdf 

HOLDING HANDS - Antonia Baehr and William Wheeler - 2001

engl.

"We work as a duo and switch places between director and performer from rehearsal to rehearsal, developing two shows simultaneously and cross-influencing each other's work."

 

Here you can find a English and German Version of the text:

 

English version:

Holding Hands.pdf 

 

German version:

Holding hands de.pdf

INTERVIEW WITH ANTONIA BAEHR AND WILLIAM WHEELER (HOLDING HANDS) - Gilles Amalvi - 2003

Interview in french on "Holding Hands" and "Without You I Am Nothing" with Antonia Baehr and William Wheeler lead by Gilles Amalvi for the festival Rencontres Chorégraphique Internationales de Seine-Sant-Denis in 2003

 

Here you can find the complete interview in a pdf version: InterviewbyGillesAmalvi.pdf

HOLDING HANDS / WITHOUT YOU I AM NOTHING - Yvane Chapuis - 2011

Interview with Yvanne Chapuis in the french review "Questions d'artistes" number II, november/december 2011 publication. The magazin is created by Le collège des Bernandins.

 

Here you can find the complete interview in a pdf version: Questions d'artistes n°II -Holding Hands/ Withous you, I am nothing-.pdf

WITHOUT YOU I AM NOTHING - William Wheeler - 2001
"In Without you, I am Nothing, voice and speech, body and mind are uniquely tied together in the singing of the opera diva."

 

The stage is white with a long white curtain in the back, the same as in Holding hands but the neons are replaced with theatrical lighting. On the stage is a golden chair with a microphone on it, a small amplifier, a theremin, and black cables connecting all these things, creating a tight triangle. Antonia, the diva, enters in a lovely sparkly gown, sits down in the chair and delivers a hypnosis text based on a fantasy of being in love with and performing for a queen. She speaks a little sideways to an audience which will choose either to sink into her fantasies and suggestions or to detach themselves and listen, scrutenizing the text and the scenario. After she finishes her hypnosis, she lip-synchs to William playing Giuseppe Verdi’s ‘Tu che le vanitá’ on the theremin, making the theremin sound like an operatic soprano voice. Seeing and hearing, disbelief and wanting to believe are all combined. Musician/instrument, text/speech, audience/vision in general become blurred. 
Logic dances in a field of flowers for a moment, and something like a trance is made possible.
 
“Sometimes I wish I could take my voice out of my body and put it in a box so that it could be independent of me. . . . I envy other musicians whose instruments are not inside or dependent on their bodies. We singers have to take constant care of ourselves and control our emotional state in case it affects The Voice.“ (‘Diva: Great Sopranos and Mezzos Discuss Their Art’ by Helena Matheopoulos 1991)

June Anderson, soprano and diva, finds a charming way to say that, actually, she would rather be nothing but a diva. She recognizes the unstable, mystical and cataclysmic proportions of her body and notes that at any moment she may explode with tragedy or rise to the heavens on a cloud of pink sparkles. . . . She tricks us into thinking that she has no grasp on metaphysics; that she is unable to have out-of-body experiences. . . . She knows she is a musician and that her instrument is her voice. Her body is a battle-ground. She would walk out on any important performance attended by kings and presidents to protect her voice. Her voice is at once her tool for labor and the horn of her soul. Her body’s voice is her soul’s voice: Her body is her soul and vice versa.
 
William Wheeler