{"id":315,"date":"2018-08-03T19:34:56","date_gmt":"2018-08-03T17:34:56","guid":{"rendered":"http:\/\/lea-hoffmann.de\/?page_id=315"},"modified":"2024-04-03T21:43:18","modified_gmt":"2024-04-03T19:43:18","slug":"das-wilde-klingen","status":"publish","type":"page","link":"https:\/\/lea-hoffmann.de\/index.php\/projects\/das-wilde-klingen\/","title":{"rendered":"DAS WILDE KLINGEN \/ 2018 &#8211; 2022"},"content":{"rendered":"\n<p><strong>\/\/english\/\/<\/strong><\/p>\n\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<p>\u201cDas Wilde Klingen\u201d is an improvised chamber opera.<br>6 instrumentalists, 1 dancer and 1 performer improvise on different creation mythologies. They integrate the different niches and spaces of the church in their acoustic explorations and use the church organ in an experimental way. They are especially interested in the role of women, who act as (co-)creators in the myths. <\/p>\n<\/div><\/div>\n\n\n\n<pre class=\"wp-block-preformatted\"><strong>DEAF DATE<\/strong>\n\nThe ensemble was supported by the Musikfond in 2021 with its project DEAF DATE. \nIn this project the all musicians where recording individually (without hearing each other) to certain verbal expressions by H. Nonnenmacher. The tracks were then mixed together by him. At last Lea Hoffmann and Lorena Izquierdo Aparicio filmed their dance\/performances to the musik tracks.\n\"The beauty of the recording as a whole lead me to the assumption that we musicians are kind of connected even if we are not hearing each other. Our knowledge of music and our intuition makes us do things and opt for musical decisions, that seem to interconnect with the others, similar to telepathy. My compositions reflect on this by mixing \"deaf\" solo playing, e.g. with headphones, with group interaction.\" \n\n<strong>Eutalia de Carvalho<\/strong> \u2013 voice \n<strong>Lorena Izquierdo<\/strong> - voice, action \n<strong>Silke Eberhard<\/strong> \u2013 clarinet \n<strong>Edith Steyer<\/strong> \u2013 alto saxophone\n<strong>Rieko Okuda<\/strong> - piano \n<strong>Horst Nonnenmacher<\/strong> \u2013 bass\n<strong>Sofia Borges<\/strong> \u2013 percussion\n<strong>Lea Hoffmann<\/strong> - dance \n\n\n\n<iframe loading=\"lazy\" title=\"deaf dates\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/GqLfizbD9fM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\nlast performances:\n\n<strong>14.05.2022<\/strong> <strong><em>deaf date<\/em><\/strong> at <strong>ACUD Theater Berli<\/strong>n\n<strong>10.12.2021<\/strong> at <strong>20h<\/strong> at <strong>K\u00fchlspot<\/strong>, Berlin\n<strong>24.11.2021<\/strong> at <strong>20h<\/strong> at <strong>K\u00fchlspot<\/strong>, Berlin\n<strong>14.07.2021<\/strong> at <strong>22h<\/strong> at <strong>K\u00fchlspot<\/strong>, Berlin <\/pre>\n\n\n\n<pre class=\"wp-block-preformatted\"><strong>ANA-ANANSI, eine improvisierte Kammeroper<\/strong><\/pre>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/www.acud-theater.de\/getimage.php?picture_id=17604\" alt=\"Ana-Anansi Performingarts Festival Berlin\" title=\"Lea Hoffmann Performingarts Festival\"\/><\/figure>\n\n\n\n<div class=\"wp-block-columns are-vertically-aligned-center is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\">\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<div id=\"content_wrapper\">\n<div id=\"content_bg_image\">\n<pre id=\"content\"><strong>\/\/deutsch\/\/<br><\/strong><br>\u201eDas Wilde Klingen\u201d kommentiert mit ana-anansi ein mythologisches M\u00e4rchen und verleiht ihm eine \u00f6kologisch-politische Deutung. Die szenisch gegliederte Auff\u00fchrung wird vor allem durch verschiedene instrumentale Besetzungen strukturiert und ist weitgehend improvisiert.<br>Sie erz\u00e4hlt von einem gott\u00e4hnlichen Wesen, dem Trickster Anansi, der durch sein vermeintlich schlaues, aber letztlich profitorientiertes und unethisches Handeln die Natur und dessen G\u00f6ttlichkeit zerst\u00f6rt.<br>In der szenischen Darstellung treten Klang, Gestus, Wort und Tanz in Interaktion und treiben die Handlung voran. Die musikalische und gestische Improvisation versteht sich dabei ebenso als narrativer Impulsgeber, wie das Wort auch als klangliches Mittel eingesetzt wird.<br>Licht und Raum werden in das Geschehen miteinbezogen und gestaltet. Frei nach James Berry, \u201cAnansi and the hidden garden\u201d.<\/pre>\n<\/div>\n<\/div>\n<pre><b>Eutalia de Carvalho<\/b> \u2013 Gesang<br><br><b>Theo J\u00f6rgensmann<\/b> \u2013 Klarinette<br><br><b>Edith Steyer<\/b> \u2013 Klarinette, Altsaxophon<br><br><b>Tommaso Vespo\/Rieko Okuda<\/b> \u2013 Kirchenorgel, Klavier<br><br><b>Horst Nonnenmacher<\/b> \u2013 Kontrabass<br><br><b>Sofia Borges<\/b> \u2013 Percussion<br><br><b>Lea Hoffmann<\/b> \u2013 Tanz<br><br>guest:<br><strong>Lorena Izquierdo Aparicio<\/strong> \u2013 Performance<br><br><strong>Scott Weiner<\/strong> \u2013 Licht (Video)<br><br><a href=\"https:\/\/www.youtube.com\/watch?time_continue=1&amp;v=YHDEN0b9SBo&amp;feature=emb_logo\">https:\/\/www.youtube.com\/watch?time_continue=1&amp;v=YHDEN0b9SBo&amp;feature=emb_logo<\/a><\/pre>\n<ul>\n<li>\n<pre>last performances:<br>Performingarts Festival: <strong>01.06.19<\/strong> at <strong>9pm<\/strong> at <strong>ACUD-Theater<\/strong>, Berlin<\/pre>\n<\/li>\n<li>\n<pre>M\u00e4rz 2019 <strong>Kulturkirche Nikodemus<\/strong>, Berlin<\/pre>\n<\/li>\n<li>\n<pre><br>November 2018 <strong>Kulturkirche Nikodemus<\/strong>, Berlin<br><br><\/pre>\n<\/li>\n<\/ul>\n\n\n\n<p><\/p>\n<\/div><\/div>\n\n\n\n<p><\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow wp-block-group-is-layout-flow\"><div class=\"wp-block-group__inner-container\"><\/div><\/div>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":312,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-315","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/lea-hoffmann.de\/index.php\/wp-json\/wp\/v2\/pages\/315","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lea-hoffmann.de\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/lea-hoffmann.de\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/lea-hoffmann.de\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/lea-hoffmann.de\/index.php\/wp-json\/wp\/v2\/comments?post=315"}],"version-history":[{"count":44,"href":"https:\/\/lea-hoffmann.de\/index.php\/wp-json\/wp\/v2\/pages\/315\/revisions"}],"predecessor-version":[{"id":1340,"href":"https:\/\/lea-hoffmann.de\/index.php\/wp-json\/wp\/v2\/pages\/315\/revisions\/1340"}],"up":[{"embeddable":true,"href":"https:\/\/lea-hoffmann.de\/index.php\/wp-json\/wp\/v2\/pages\/312"}],"wp:attachment":[{"href":"https:\/\/lea-hoffmann.de\/index.php\/wp-json\/wp\/v2\/media?parent=315"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}