Cool coefficient: 100 percent. Spectators: You are standing in line. This is something else that is different, of course, when a modern dance is on the agenda. What is wrong here too. “Cardboard sessions” Moritsa Ostroshnjak, which took place on June 28 in the present, Munich Pinakotek, are more likely a friendly absorption of museum architecture by urban dance.
This begins with two Kramp champions on the head of a wide staircase. These two should look for spectators distributed in the light rotunda, a small ant appears there. And suddenly tiny heads appear between them.
12 dancers of various sources, from crashing and crashing through waving, electro, hip -hop and house, here released here, including stars of the stage, such as German Olympico Serhat Said Perhat. The youngest in the team is only 14 years old, B-Boy allows paralyzed legs to fly through the air like nothing, and everyone mixes among the audience to slide into the most impossible nodes.
They glue their bodies on the glass of the balcony, look for visual contact and allow the mood to prepare impressive actions, but in addition to the almost utopian capabilities of the human body, they also perform a community to which you absolutely want to join.
Socialized in the dance scene of the sprayer and break the dance scene
Moritz Ostroshnzhak once belonged. Born in Marburg in 1982, he was socialized on the Sprayer and Break dance stage before studying the classic and modern dance with Maurice Bedzhart in Lausanne and at the Munich School of Insonon.
Since 2013, it merges with unmistakable choreographs that are held by European festivals. Three of his works were already invited to the dance platform in Germany, the best selection of the industry. There are several artists who began in recent years.
Also at the International Munich Dance Festival, when his rested “cardboard sessions” came to the world premiere. For the new manager of the Tobias Staba festival, who wants to sit down as a bridge between visual arts and dancing, a club and a scene, the authority of the street and high culture, the Ostroshnjak flirting with his own roots.
Choreographer Moritz Ostrushnzhak
Photo:
Albert Vidal/Vertex Comunicacio
And his other work would also be perfect in the Staab program. More choreography, they return the memes and viral gestures of the World Wide Web back to the body and usually smuggles of political care.
Between fantasy and fanaticism
The latest Ostruschnjak production “Non + Ultras” is the range between Fantum and Fanaticism. About 500 colorful scarves form conflicting signals.
And the “sign” is an almost commodity brand of this young choreographer, which several years ago decided that there was nothing new for the invention, but all the more you can steal, collect, compile and slide wildly. Copy, insert and remix are the choreographic principles of Moritz Ostrushnjak. And this applies not only to the step and the movement of the material, but also to all the layers that produce their works: also for video images and music, scenes and costumes.
In its production, the Park of Trailers, created with the ensemble of the Tanmainz, which will become a guest of dance in August this year, the shirts of ten dancers look like a combination of Mikes Mogoc: Bands made on specially designed gangs.
Messages collide and also overlap in grimaces, manual gaps and fragmented movements. Like Autoplay, Ostruschnjaks 2019 in the Bastard-Pop of 1000 Thefts, this evening is also based on playlists made from the network, such as memes and viral dancing and sports videos.
Links to test sequences were practiced and gathered again and again until they feel right. Also meet V The body is different sources: the classic Japanese dance is higher, techno-jampstil is lower. Sometimes it seems that each participant is on a different trip.
Excessive statements about the present
But also in musical terms it is fun in these works, which reflect “applicants” and suppresses in the present. But when Ostroyshnjak asks how digitization affects us, his artistic answer to this never ceases to do this, but rather ironic-realistic.
How he receives these cultural links of Potpourri Pop tightly and thematically specific, his secret remains in front of himself: “The scene is correct when it does something with me,” says a readable and thoughtful person. And basically she does something with the audience.
He succeeded with Cry Why, the composition of two dance solo, built -in skates and rolling piano with Cry Why. And, probably, he will talk about his masterpiece from the Nestry: Now in twenty years: at that time his dancers flooded an orphan, about 2400 PHILHARmonie seats in the Munich Gastoga, with baseball baseballs and signs that are sorted out of the very beautiful in the world in the world in the world. Cool factor: 100 percent crowd of the public: you are standing in line.
