OCH DÄR STÅR DU (AND THERE YOU STAND) - a night of dance, film and music.

When Anna Koch summarizes the choreography Projekt Djurgårdsbrunn, the movements, observations and experiences that have been generated are transferred to the theater space, where the themes and instructions that were the points of departure for the project will be recreated and developed. An additional challenge is the fact that the public can move freely between the ongoing choreographic actions and also participate in them. The conclusion will be presented for the public on this evening only!

Projekt Djurgårdsbrunn is a choreography that began in May, to which a great number of choreographers and dancers were invited to contribute. To the objects, instructions and the location which formed the framework for the project, the invitees have brought their own processes. They have adopted completely different approaches to the assignment and the space of Magasin 3 Projekt, where they spent a couple of days each. The aim was to generate new ideas and meetings and enable the project to become a platform for an open process of development. During the summer, visitors to Magasin 3 Projekt have taken part in choreographic events which have varied in size and scope. One has been able to observe rather unusual events as participants have grappled with their investigations: someone spun around until they toppled over, someone else walked with bended knees and made the viewers fall over, someone balanced a coffee cup, and some were bold enough to follow the instructions, interpret and execute the movements.

Contributing dancers and choreographers: Emilie Strömberg, Mattias Ekholm, Anne Külper, Emilie Jonsson, Marcus Doverud, Sybrig Dokter, Ulrika Höglin, Jukka Korpi, Anna Eriksson, Sanna Söderholm, Suzie Davies, Alexandra Jordansson, Lotta Melin, Audrey Littman, Anders Jacobson, Staffan Eek och Anja Arnquist. Sounds by Andreas Karperyd.

Ludd is a collaboration between musicians and composers Lise-Lotte Norelius and Ida Lunden. By using synthesizers, percussion instruments, computers and objects such as parsley mills and toy tractors, they create improvised electro-acoustic music that is both hard and brutal, dreamy and gentle.

They take their point of departure for their performance at The Jewish Theatre from the location, the space and the context in order to search for a type of condition. They describe the process as “an active attempt to live in spiritual inactivity by performing seemingly meaningless activities”. As an independent parallel to Anna Koch’s choreography, they focus on tiny details and conditions, allowing them to develop into a time-specific work entitled Ludd vegiterar [Ludd vegetates].

Ida Lunden (b 1971) is a musician and composer of experimental electro-acoustic music and contemporary chamber music. She often concentrates on investigations of sounds and performance techniques. Ida Lunden collaborates with other musicians, artists, choreographers and film-makers as well as participating in various groups and constellations such as Ludd, saralunden and Rock out. These collaborations are a platform for experimentations with new ideas, techniques and electronica which is characteristic of her output.

Lise-Lotte Norelius (b 1961) is also a musician and composer, focusing on percussion and electronic music. She has developed her own world of sounds, combining acoustic percussion instruments with electronic manipulations, sampled sounds and live electronica. Lise-Lotte Norelius has worked as a musician in various constellations, mainly in Anitas Livs but also VFO (Välfärdsorkestern with Sören Runolf), Ludd, UNSK (Ulher, Norelius, Strid, Küchen) et al. She has composed pieces for orchestras, musicians and electronica, as well as created music for videos, dance performances and stage plays.

A film program with an historical perspective related to performance and choreography.

Len Lye Rainbow Dance, 1936, 16mm, color, sound, 24ips, 5'00
Nancy Holt & Robert Smithson SWAMP, 1971, 16mm, color, sound, 24ips, 6'00
Oskar Fischinger München-Berlin Wanderung, 1927, 16mm, b&w, silent, 18ips, 5'00
Gary Beydler Hand Held Day, 1974, 16mm, color, silent, 24ips, 6'00
Maya Deren A Study in Choreography, 1945, 16mm, b&w, silent, 24ips, 3'00
Marcel Duchamp Anémic Cinéma, 1925-26, 16mm, b&w, silent, 18ips, 7'00

Total running time: 32 mins.


Len Lye
Rainbow Dance, 1936
The film Rainbow Dance was premiered at the 1936 Venice Film Festival. Its ground-breaking imagery has often been imitated. Dancer Rupert Doone appears as a silhouette performing various actions against stylized backgrounds. The film was shot in black and white - then “colourized” in the laboratory. Len Lye regarded the technique as an opportunity to transform realism into a form of “color hieroglyphics”. Len Lye (1901-1980), from New Zealand, was an experimental film-maker and a sculptor.

Nancy Holt & Robert Smithson
SWAMP, 1971
Sculptors Nancy Holt and Robert Smithson, both known for their Earth Works, made the film SWAMP together. The film is the result of a simple exercise, executed in a swamp in New Jersey, USA. Nancy Holt walked through the swamp, only seeing where she was walking by looking through the lens of her Bolex camera as Smithson gave her verbal instructions. Smithson said that the film deals with “deliberate obstructions or calculated aimlessness”. Nancy Holt (born 1938) is perhaps most famous for her monumental piece Sun Tunnels (1973-76) in Lucin, Utah, USA and Robert Smithson (1938-1973) for his Spiral Jetty (1970), at Rozel Point, Great Salt Lake, Utah, USA.

Oskar Fischinger
München- Berlin Wanderung, 1927
In Munich, in the spring of 1927, Oskar Fischinger’s business partner disappeared without a trace with the money from their small animation studio. Burdened by debt in a Germany plagued by crisis and high inflation, he decided to move to Berlin. As he had no money he had to make the journey on foot. During the three-week walk, he filmed short sequences and occasional single-frame exposures. Oskar Fischinger (1900-1967) made some 30 films in Germany, both experimental animations and commercial works. When the Nazis seized power and abstract art was banned, Fischinger was forced to flee to USA, where, among other things, he worked in Hollywood on Disney’s Fantasia. He created experimental animations throughout his career and made several ground-breaking films. In the 1950s he invented the “Lumigraph”, a machine that played both light and colors, with which he toured the USA.

Gary Beydler
Hand Held Day, 1974
California artist Gary Beydler made a total of three films, all the same year: Mirror, Hand Held Day, and Pasadena Freeway Stills. The films are implementations of a single pre-conceived compositional premise based on some specific aspect of the cinematic apparatus. The result is rhythmic movements in which the material properties of film-making play an important part. Hand Held Day is a study of the movement of clouds in the sky over a mountainous Southwestern landscape in USA.

Maya Deren
A study in choreography, 1945
Maya Deren’s films were coined “choreocinema” by John Martin, the New York Times’ leading dance critic of the 1930s and 1940s. Maya Deren regarded film as a possibility to liberate dance from the confines of the stage and make the “invisible visible”. In the film, dancer Talley Beatty performs a continuous dance, choreographed for different places and time intervals. Camera speed alternates between slow motion and acceleration, while moving between nature and urban environments. Maya Deren (1917-1961) was a dancer, choreographer, poet, writer and film-maker. Her most famous film is Meshes of the Afternoon (1943). With Marcel Duchamp she began work on the film Witch's Cradle, which was also a study of movements, performed by Duchamp. The film was never finished. In 1947, Deren won the Grand Prix Internationale at the Cannes Film Festival. The same year she was awarded the Guggenheim Foundation Fellowship for her study of voodoo in Haiti, the result of which was a number of records with music from Haiti, a book and the film ,Divine Horsemen: the Living Gods of Haiti.

Marcel Duchamp
Anemic Cinema, 1925-26
Anémic Cinéma is a collaboration between Duchamp, Man Ray and the film-maker Marc Allegret. Several versions of the film were made in the early 1920s. Duchamp and Man Ray experimented with the filming of texts in a spiral shape on nine round discs. The texts comprise French puns created by Duchamp’s alter ego, Rrose Sélavy (in itself a play on the words “Eros, c’est la vie”). The film’s title, Anémic Cinéma is also a word game - anémic being an anagram of cinéma. Ten discs without text but with pattern occur in the film. These reappear later in Duchamp’s work as Rotoreliefs, a set of six discs with print on both sides. They were designed to be placed on a gramophone to create optical illusions. Duchamp registered Rotorelief as a trademark, owned by Rrose Sélavy. In 1935 he hired an exhibition stand at the “Salon des inventions” in Paris, possibly in order to attract a manufacturer for his product. One of Marcel Duchamp’s (1887-1968) most famous works is The Large Glass or The Bride Stripped Bare by Her Bachelors, Even (1915-1923), a version of which can be seen at Moderna Museet in Stockholm.

Originally a 19th century skittle alley in Stockholm’s royal park, the Jewish Theatre is a challenging and experimental centre for the exploration of definitions of contemporary drama and performance. Under Pia Forsgren’s leadership, the theatre has specialised in integrating environments with its performances, making use of architecture, and technology as well as live performers. Rather than rely on a regular repertoire, the Jewish Theatre has preferred to commission or choreograph works that continually reconfigure the theatre space. The productions of the Jewish Theatre use the whole of the building, blurring audience and performance space, abolishing not just the proscenium but the idea of a stage too, and come closer to performance art.

www.judiskateatern.se