Residencies

• 21.09 > 11.10.2020

What we find come­dic (or just fun­ny) is sen­si­ti­ve to chan­ging con­texts. It is sen­si­ti­ve becau­se the fun­ny is always trip­ping over the not fun­ny, some­ti­mes appe­a­ring iden­ti­cal to it. (Lauren Berlant) 

Soulless plays on the desi­re to be seen and the need to sub­vert and retre­at. Hagar Tenenbaum is inte­rested in wor­king with the idea of the mute body. This means a body that in order to be heard, needs to be loo­ked at; such a body appro­a­ches move­ment as an ela­bo­ra­ted speech.
Following this line of thought, Tenenbaum cre­a­tes a dan­ce pie­ce focu­sing on phy­si­cal humor and inspi­red by mime and slap­stick, whe­re the body can be more awk­ward than gra­ce­ful, more ridi­cu­lous than subli­me. She stres­ses the plas­ti­ci­ty of the body. And com­bi­nes this con­cept with the music of Hendrik Willekens. The move­ments con­ti­nuous­ly chan­ge in sha­pe and volu­me, rea­ching an awk­ward flow. Constantly and simul­ta­neous­ly Soulless shifts from the phy­si­cal pain of the real to the the­a­tri­cal world of make-believe.