1^st TANGO ART LAB FESTIVAL | LJUBLJANA | 3.6. – 5.6.2011

FRIDAY, 3.6.2011

15.00 – 18.00 Seminar “Tango theater” by director Alberto Goldberg

20.30 Opening Milonga with preformances

Performances:

• “Porque?” (choreography and dance: Špela Stramšek, Matija Knapič)
• “Alusion del amor” (choreography and dance: Uršula Sovinc in Adnan Bešo)
• “A point of no return” (choreography and dance: Andreja Podlogar in Blaž Bertoncelj)

SATURDAY, 4.6.2011

11.30 – 13.30 Seminar “Expression of feelings and emotions through tango movement” by dancers and choreographers Blaž Bertoncelj and Andreja Podlogar

14.00 – 17.00 Seminar “Tango theater” by director Alberto Goldberg

21.00 Milonga “Češnjev Tango ” with concert of Vesna Zornik – Tango Apasionada

SUNDAY, 5.4.2011

14.00 – 17.00 Seminar “Tango theater” by director Alberto Goldberg

20.00 Final production of participants at “Tango theater” seminar

LOCATIONS:

• Studio BA Tango, Mesarska 4, Ljubljana, Slovenija
• Domačija Klinec, Medana, Goriška Brda, Slovenija (Saturday’s Milonga)

Seminar “Tango theater” can be attended by dancers and actors, who would like to investigate tango as a narrative element.

Alberto Goldberg is an Argentine actor and director. He is involved in tango-theater as a dancer,teacher and artistic advisor. He is a co-organizer of Cambalache Tango-Dance-Theater Festival in Buenos Aires in Argentina. He is a co-founder of Tango Art Lab, International net of artists, who work on investigation of tango as a form of expression. He has directed over 20 theater performances (pieces by G. Buchner, B. Brecht, E. O´Neill, A. Discépolo, Ionesco, etc) and has produced and directed several tango-theater performances (Match de Improvisación Tango, Tangos en el Filo de la Noche, Corazoneando, Inocente Bandoneón, Descarrilados, Luces y Sombras). He has created independent seminars of tango-theater. He has been teaching at several international festivals in Argentina and Europe. More of Alberto Goldberg and his work you can read on: www.tangoartlab.com

Andreja Podlogar in Blaž Bertoncelj are dancers, choreographers and teachers of argentine tango. They are members of international association AMBCTA (Associacion de Maestros, Bailarines y Choreographos de Tango Argentino). They have created several dance spectacles: “Tango Prohibido” (2001), “Tango E-motion (2002)”, “Harmonia”(2006), “Subte” (2008). They have received the prestigious National Dance Award “Povodni mož” for their choreographies in the dance spectacle “Tango Prohibido” in 2001. “Harmonia”, contemporary tango drama, was invited to Festival Cambalache in Buenos Aires in 2010. They choreographed theater performances (“Benetke”-2002; “Smoletov vrt”-2006; “Opera za tri groše”-2007; “Čas za tango”-2011 etc) and movies (“Tango -5″-2002; “Marko skače”-2010). They are co-founders of Tango Art Lab, international net of artists, who work on investigation of tango as a form of expression. As a part of Tango Art Lab they created a group of dancers, who investigate tango as an expression of movement and are involved in different art projects (Festival “Noč v Stari Ljubljani” 2010, Ceremony on World’s Day of Dance 2011). At the 1st Tango Art Lab Festival they’ll present a performance “A point of no return”.

Uršula Sovinc in Adnan Bešo are dancers of argentine tango. They performed at the Festival “Noč v Stari Ljubljani” in 2010. They are members of a dance group which work as a part of Tango Art Lab. At the 1st Tango Art Lab Festival they’ll present a performance “Alusion del Amor”.

Špela Stramšek in Matija Knapič are dancers of argentine tango. They performed at the Festival “Noč v Stari Ljubljani” in 2010. They have participated in an art intervention on World’s Day of Dance, 2011. They are members of a dance group which work as a part of Tango Art Lab. At the 1st Tango Art Lab Festival they’ll present a performance “Porque?”.

INFORMATION AND APPLICATION:

General:

Email: studio@ba-tango.com

Mobile: + 386 41 555 572 (Blaž) ali +386 40 555 572 (Andreja)

For Saturday’s Milonga:

Email: danko@dama-eng.si

Mobile: + 386 41 680 509

The recording of the second Tango Art Lab round table where we had discussion about Tango combining with other Dance Forms .

Guests were:

Ms. Agnese Vanaga – Choreographer,contemporary and tango dancer,  co-author of technique Conteporary Partnerwork

Mr. Juan Onofri Barbato – Choreographer,contemporary and tango dancer,  co-author of technique Conteporary Partnerwork

Mrs. Andrea Podlogar – choreographer, dancer, professor of dance

Mr. Blaz Bertoncelj – choreographer, dancer, teacer

Mr. Uroš Andič – choreographer, dancer, teacer

Mr. Matjaž Konda – director of  Tango Shows

There would be two seminars – each for a group of maximum 8 couples:

1.From 30.8.2010 to 3.9.2010 (17.30 – 21.00)

2.From 6.9.2010 to 10.9.2010 (17.30 – 21.00)

Both groups will have 3,5 hours of classes per day; 17,5 hours altogether;

Who can attend the seminars?

The seminars can be attended by advanced dancers of Argentine tango, contemporary dancers and professional actors, who would like to improve partnering (in tango and also in other dance forms) and thus their dancing with partners.

The seminar will take place in Studio BA Tango, Mesarska 4, Ljubljana, Slovenia.

About the professors – please look the connections:

Agnese Vanaga

Juan Onfori Barbato

Who can attend the classes?

The advanced dancers of Argentine tango, contemporary dancers, professional actors

What will we learn at the Seminar?

At the seminar we will learn the principles of Contemporary Partnerwork – a discipline which is based on contemporary dance and incorporates Contact Improvisation, Release, Flying Flow, acrobatic elements for the development of physical relations in couples or groups. The knowledge of these principles will help us understand how two or more partners can work in relationship, which would help us to improve our partnering (in tango and also other dance forms) and thus our dancing with partners.

Where can we apply the knowledge?

The knowledge we get through understanding the partnerwork can be applied everywhere where physical partnering is necessary (Argentine tango, other dance forms that incorporate work with partners, acting…)

APPLICATIONS:

Send us an e-mail (studio@ba-tango.com) or phone us on the mobile (+ 386 41 555 572 or +386 40 555 572) and we will send you an application form.

If any questions, feel free to contact us.

1st Trailer of the “Romeo and Juliet” play at Mercury Theatre by Salida Productions. Direction: Ed Hughes. Assistant Direction: Michael Vale. Tango Orchestra/music by: Astillero. Trailer: Alejandro Diez.

Actors: Gus Gallagher, María Victoria Di Pace, Luciano Dodero, Keith Dunphy, Ian Pirie, Shuna Snow, Gina Isaac , Javier Alcina, Ed Hughes, Andrea Peláez.

Musicians: Luciano Falcón, Julián Peralta, Miguel Suárez, Mariano González Calo, Federico Maiocchi, Martijn van der Linden, Javier Sara.

Colchester, England. March, 2010.

The recording of the first Tango Art Lab round table where we had discussion about Tango and Theatre.

Guests were:

Mr. Alberto Goldberg – director, dancer,  co-organiser of Cambalache tango festival

Mrs. Andrea Podlogar – choreographer, dancer, professor of dance

Mr. Blaz Bertoncelj – choreographer, dancer, teacer

Mr. Uroš Andič – choreographer, dancer, teacer

Matjaž Konda – director of  Tango Shows

Mr. Alberto Goldberg – director, dancer,  co-organiser of Cambalache tango festival

Mrs. Andrea Podlogar – choreographer, dancer, professor of dance

Mr. Blaz Bertoncelj – choreographer, dancer, teacer

Mrs. Mateja Juvan – choreographer, dancer, teacer

Mr. Uroš Andič – choreographer, dancer, teacer

Mrs. Lara Jankovič – actor

Mr. Matjaž Višnjar – actor

Discussion will be in english language and the video will be place on the net after the discussion.

The contemporary partner work is a discipline which parts from the contemporary dance, mainly from Contact Improvisation, Release, Flying Low and the elements of acrobatics thought for the development of physical relations in duets, trios or group work.

To tell the difference between the classical partner work, our proposal aims to build the complementary relationship between two or more sensitive bodies and underlines the precise awareness of the work of physical structure of each student.

Taking into account the differences of the gender and diverse corporal characteristics, necessary tools will be applied for different bodies so that for example a female student could lift a male student using the technical idea of shared axes avoiding the risk of unnecessary wounds at the same time opening a Wide range of new possibilities to encourage the physical connections.

Our proposal aims to build an intensive connection where the dynamic roles are balanced and both bodies are working equally in the constant expansion to perform one form.

Structure of the class

1. Recognition of the partner’s body structure through the own bone an muscular structure:

Different exercises in couples will be introduced, mainly based on contact work.

1. Physical training.

Individual. This part of the class offers the personal training to develop the skills and awareness of muscular resistance and the bone structure as an operating system to work the body in constant expansion.

1. Exercises in couples, trios until group work.

At this point the work is directed towards the development of movements structures and special tasks to introduce the different possibilities of Partner Work. These structures can be related to different genders of pair dances as a tango dance for example, mechanisms of the contact improvisation, pair acrobatics or contemporary dance techniques.

1. Chorographical sequences:

Chorographical movement sequence based on the ideas of the previously executed exercises will be provided by professors, learned and performed by students.

1. Chorographical sequences (advanced level)

Finally we can face the creative part of the class where students will be asked to create own material always using the main idea of the partner work (all movements, forms and transitions are created and performed between two or more bodies)

Origins of the connexions or basic concepts of the partner work

1. To remain in the gravity:

The body in order to stay in upright position has to be organized using the knowledge of the muscular and bone structure in a way so that the gravity force doesn’t through it towards the floor.

Any support area of the body connected with a floor (at this stage) should be constantly pushing the floor and against the gravity. Later on we apply the same idea working with a partner pushing away from the support area at the same time directing the push and ending it in the floor.

That’s why we stress the idea of constant push from the floor.

1. Touch.

The contact area between two ore more bodies that doesn’t involve force either weight. The emitter (person who initiates or proposes the movement) is the one who acts avoiding affecting kinetically the recipient (person who receives the proposal of emitter). The possible changes in the duo are those of perception: recognition of the periphery, information about the size, volume, temperature, and distance.

Action possibilities with a touch:

Rolling and sliding

1. Grab.

The fingers and fingertips perform the muscular action of the traction.

Action possibilities with the grab:

Anchoring

1. Support

The contact area used to give the whole or the part of the weight to the recipient’s body. This kina of connection between bodies involves the whole muscular and bone structure of participants.

Action possibilities with the support:

Rolling, sliding and anchoring. (In a case of rolling and sliding the support area will be changed.

5. Fitting in

Two areas of opposite angles embedded concavo –convex, concavo-concavo but never convex-convex. Establishing largest contact area will facilitate the weigh support. Trying to avoid free sauces.

Action possibilities with the fitting in

Anchoring

The combination of the basic elements will provide the possibility to create the physical dynamic connection between two or more bodies:

Sharing central axes with a partner on the leaning or hanging positions, supporting or giving the whole or the part of the body weight of the partner.

En el escenario casi todo es ilusion y apariencia. Las paredes no son de piedra, son de carton , el cuchillo no es de acero, es de papel, la neblina es humo de maquina, la sangre es jugo de tomate.
Las historias o los argumentos pueden ser tomados de la realidad, pero el modo en que se desarrollan en escena son diferentes: muchos siglos pueden concentrarse en algunos segundos y un instante narrarse en largas horas. Los actores, cuando crean sus personajes, personifican a otros, aunque ese otro sea el propio actor. Todo esto es ampliamente conocido.

Cuando un bailarin ejecuta una exhibición, aunque no lo pretenda, tambien actua. Sus acciones en escena cobran una intensidad diferente a las que desarrolla en el baile social.
En un cierto nivel de su desarrollo, los bailarines logran contarnos la musica sobre la cual estan bailando. Algunos, con atributos de magos, nos hacen escuchar aspectos que nunca antes habiamos advertido: una frase del violin, efectos del piano, un arrastre de bandoneon.
En otro nivel y, estimulados por la musica, por su partener , por el ambiente o por su mundo interior, sienten y nos trasmitirnos diversos tipos de emocion .

LA EMOCION DEL BAILARIN EN ESCENA

Los bailarines , frecuentemente, se “emocionan” cuando bailan, pero esto no siempre le llega al observador. Porque entre “sentir” y “comunicar ” hay una distancia que no se resuelve automáticamente. Hay quienes lo logran con facilidad, pero otros no tanto.

Otro tema importante se refiere a la emocion planificada , o sea aquella que se necesita trasmitir porque asi lo piden la escena de baile o las indicaciones del director. O sea, cuando se trata de “crearla para la ocasión”, “actuarla”.

Una forma de resolverlo, es recurrir al “como si” o “poner cara de”. Aunque parezca un recurso facil, sin embargo varias corrientes o generos teatrales muy importantes y exitosos hacen de esta forma su fundamento. Desde luego que, en estos casos, el “como si” o el “poner cara de” requiere tambien de mucha investigación y estudio.
Otra forma de resolverlo, es lograr que el actor o el bailarin “presten” sus propias emociones a los personajes.

METODOS

Nadie puede obligarse a sentir tal o cual cosa. La emocion no avisa, pero aparece ante determinados estimulos que nos llegan. Nadie puede “ponerse euforico”, por el hecho de pretenderlo. Puede hacer “como si”, pero no euforizarse realmente. En varias ocasiones hemos visto bailarines esforzarse vanamente por sonreir porque escucharon que el ritmo milonga es “alegre”. Tambien hemos visto caras de “ te amo” o “te deseo”, pero no lograrlo realmente. . Ademas, es difícil sentir amor por el otro mientras se lucha por recordar la coreografia, mantener el equilibrio en un voleo alto o lograr una rotacion extrema de caderas. Sin embargo, un artista completo tiene que poder resolverlo. A traves de ciertos ejercicios , rutinas, experiencias , rituales o estimulos especificos, pueden invocar y expresar la emocion que necesitan llevar a escena.

El teatro ha hecho un largo recorrido hasta lograr entender los mecanismos que facilitan la aparicion de la emocion genuina y han sido muchos los aportes que ha hecho en el campo de la danza.
Nosotros creemos que el llamado “metodo de las acciones fisicas”, es el que mas se acerca a las necesidades del bailarin para recrear emocion genuina . Este metodo tiene su origen el el metodo de la “memoria sensorial” y se apoyar en ejercicios de sensaciones táctiles , estimulo de imágenes y provocación de movimientos diversos.

Estos ejercicios y otros mas, son los que ponemos en ejecución en los seminarios de tango-teatro.

SCENE IN THE ILLUSION

On stage almost everything is illusion and appearance. The walls are not stone, are cardboard, the knife is not steel, is paper, the fog is smoke machine, blood is tomato juice.
The stories or arguments can be taken from reality, but the way in which they develop the scene are different: many centuries can concentrate on a few seconds and a minute narrated in long hours. The actors, when they create their characters, impersonate others, even though that other than the actor himself. All this is well known.

When a dancer executes an exhibition, though not intended, also acts.His actions on stage charge a different intensity to those developed in social dancing.
At a certain level of development, the dancers manage to tell the music on which they are dancing. Some attributes of magicians, we do listen to issues that we had never noticed before: a sentence of violin, piano effects of a trawl bandoneon.
At another level, stimulated by music, by his partner, for the environment or their inner world, feel and transmitted to us various kinds of emotion.

The emotion of the dancers on stage

The dancers, often, is “thrilled” when they dance, but this does not always reach the observer. Because between “feel” and “communicate” is a distance that is not automatically resolved. Some achieve it easily, but others less so.

Another important issue concerns the planned emotion, or that you need to convey it so they ask the dance scene or indications of the director. That is, when it comes to “create for the occasion,” “act.”

One way to solve it is to use the “as if” or “to face.” It may seem easy to use, however several trends or genres very important and successful theatrical make this as its foundation. Of course, in these cases, “as if” or “make face” requires too much research and study.
Another way to solve it is to make the actor or dancer “lend” their own emotions to the characters.

METHODS

Nobody can be forced to feel such a thing. The emotion does not warn, but it appears to certain stimuli that reach us. Nobody can “get elated” by the fact intending. You can do “as if”, but not really euforizarse. On several occasions we have seen dancers strive in vain to smile because they heard that the pace milonga is “happy.” We have also seen faces of “I love you” or “I wish, but do not really. . Furthermore, it is difficult to feel love for each other while struggling to remember the choreography, balance on a lob or achieve extreme hip rotation. However, a complete artist must be able to solve it. Through certain exercises, routines, experiences, rituals or specific stimuli may invoke and express the emotion they need to stage.

The theater has come a long way to gain an understanding of mechanisms that facilitate the appearance of genuine emotion and there have been many contributions she has made in the field of dance.
We believe that the so-called method of physical actions, “is the closest to the needs of the dancer to recreate genuine emotion. This method has its origin on the method of “sensory memory” and in exercises supporting tactile sensations, images and provocative stimulus of movements.

These exercises and others, are what we implemented in the tango-theater workshops.

1st Part

Click here to view the embedded video.

2nd Part

Performed by: Agnese Vanaga & Juan Onfori Barbato