Tuesday, August 20, 2013

questionnaire with participant Shake it! Collaboration (SE)

photo by MoaAThambert

Have you been (when) to Budapest - Hungary with your pieces and artistic works earlier?
NO never, neither Tove nor Dag.

What do you know about Hungary and what kind of informations do you have about our dance life?
We know a little from a good friend of us, Peter Pleyer, that worked a lot with Ester Gal. But that is not much since we have so bad memory...remind us please.

Could you share with us if have any idols in theater/dance life?
Wow...Stephanie Maher, running Ponderosa Tanzland in Stolzenhagen germany is the queen. Then we also love Eva Meyer Keller and her collaborators in th Pulling strings team for example Sheena Mcgrandles and Sibylle Müller. Forced entertainment was a big inspiration to us 10 when we started to do performaces 10 years ago and Gob Squad we also do love a lot! There is a lot of artists to love. 
Marina Ambramovic for example. Just because she is ultra cool. Prince and Anthony and the Jonston and Patti Smith. They may not do theatre- but performances. Last week we meet the hoola hoop artist Marawa the amazing. That is our new idol! 

What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works? Where did you perform it already?
Our duet Roses & Beans is a coffeebreak, a small talk and a ugly cute love story. It is accapella songs and 500 steps for equality and bums, cake and princesses.. And ex lovers. And dead lovers. And Stereo Love. And Islands in the stream. And Bad Romanace.
Similarities: sweet and tender audience interaction. Differences: We are dancing inside a blanket. That we never did before.
We performed in: Säffle. Karlstad, Åbytorp, Stockholm, Berlin, Göteborg, Örebro, Bilbao, Paris, Jönköping, Malmö, Umeå, Helsinki, Copenhagen, New York, Arvika, Veles/ Macedonia, Viljandi/ Estonia, Norrtälje and now finally in Budapest. We premiered in june 2010 and have performed this piece more than 40 times. It is still fun and there is still things to develop. 
We will perform in Amsterdam and Beijing also this fall. Hurray. 

Do you have your arsittic statement, could you share with us?.
We both move in and out of different contexts a lot. Theatre institutions, organisations, independent projects. That is always a bunch of set ups to be done according to how the Collaboration between artists within a project should be happening. We have since 12isch years worked in different collectives and experimemted around collective desicion making and how to work together. There is always alot of power and hierarchies flying around. It is fun to try to make up work processes that deals with that, instead of just letting it happen. Power games are always there, better to paly with them!

Do you have any hobby beside working as a performer or creator?
Tove like to try to make pumpkins grow in the summer house. 
Dag like free diving. He practice sometimes while performing. 

Can you write some details about your artistic life - which direction did you come from and which direction do you go right now? Tell us some important steps from your background!
Tove Sahlin
Sahlin has co–created 12 independent pieces in her 10 years with the collective Bastardproduktion. For example, she was the director of DoneDidDo, a collaboration between a youth center and an independent group of six multi-disciplinary artists. The piece later toured in classrooms in a new version co-produced by the youth theatre institution Ung Scen Öst in Linköping, Sweden, where the piece evolved into a dress up party that explored power games and stories of power.
As a performer she has worked repeatedly with Malin Hellkvist Sellén and Gunilla Heilborn, among others. Sahlin is regularly commissioned to choreograph theatre pieces, including, a musical about Ingvar Kamprad (founder of IKEA) at Örebro Länsteater; Utopia – at Backateatern in Gothenburg; and a queer version of Hamlet at Hålogaland Theatret in Tromsö.
Sahlin is also the co-founder and long term project manager of W.I.S.P. – Women in Swedish Performing arts – an established feminist network. Here she runs artists exchange projects and stages feministic events, such as www.whoistheparty.com inspired by The Dinner Party, by Judy Chicago.
In her solo works, Sahlin often starts with well known female figures. In Ugly Thoughts she embodied Sue Ellen Ewing, the whisky-drinking beauty queen from the TV-show Dallas. In Dancing Barefoot Sahlin performed the energy and spirit of a concert of Patti Smith. Dancing Barefoot
was presented at Sommer.bar – Tanz Im August, Berlin, where Sahlin has been invited to perform four of her pieces.

Dag Andersson
After graduating from The Theater University, Andersson high jumped right into the production Romeo & Julia at the Stockholm Royal Theatre, directed by Katrine Wiedemann. The show was performed more than 140 times in Stockholm and a year later for one month at the Wiener Festwochen in Vienna. Later, Andersson also impersonated The Prince in Havfruen (The Mermaid) by the same director, in Copenhagen, Stockholm and London.
 Among other things Andersson made the solo
The Milkman, investigating the moderate “lagom” man, alluding to the Swedish man, in which he held his breath in a bucket full of milk for more than three minutes’ time, and did so until the audience eventually stopped him.
Andersson has repeatedly worked with directors/choreographers such as Lars Rudolfsson, Gunilla Heilborn and Szyber+Reich, and he was one of the founders of Bastardproduktion. Andersson has performed at most of the bigger theaters in Stockholm.
For several years Andersson has featured in the TV- show
Cirkus Imago, in which he performed as a greater version of himself. He’s also one of four co-directors and performers of Skippin’ Through The Graveyard, a bluegrass musical about moral panic and silenced lies. In addition, Andersson is appreciated for his storytelling qualities as an audio book narrator, as well as a choreographer in pieces like Riktiga män (Real Men), the world touring success Inside Out (Cirkus Cirkör) and the children’s opera Karlsson på taket at the Malmö Opera. 

About Shake it Colalborations
Shake it Collaborations (SiC) is a Sweden based, internationally working company operating in the fields of performance, dance, theatre, film, radio and TV. The company was co-founded in April 2012 by the independent artists Tove Sahlin and Dag Andersson. Together they form the double-hearted artistic director duo of SiC.

Shake it Collaborations functions as a platform to share artistic ideas, administration and economy. The platform also provides means for research and a creative context for invited collaborators through its projects. The company is expanding and reshaping, from project to project, depending on the different collaborators. SiC initiates its own projects in addition to commissioned works.

The SiC projects often host an intrinsic critique to power structures in society, and they often investigate body and identity politics. Furthermore, they often propose alternatives on how to shake up the existing formats of theatre and social conventions. Instead of departing from one expression, SiC starts from a concept and then chooses the most suitable form and format to address the topic and context. The expressions range from radio and text-based theatre via movement, dance and circus, to installations and pieces focused on audience participation etc etc.
 
Tove Sahlin and Dag Anderson’s latest common performance piece, “Roses & Beans- the heterosexual project” has been touring extensively around the world since it premiered in June 2010. For example, it was programmed at Rencontres Chorégraphiques Internationales de Seine-Saint-Denis, Dantzaldia at the Guggenheim in Bilbao, Impact Festival in Veles, Macedonia, This Must Be the Place in Brooklyn, New York, IETM at MDT in Stockholm, Asterioden in Copenhagen, and Pusterviksteatern in Gothenburg. The collective Bastardproduktion, which the duo was part of between 2001- 2012, produced Roses & Beans. In January 2013, Roses & Beans was formally incorporated into the SiC repertoire.

Sahlin and Andersson are both experienced and established performers, choreographers, directors, workshop leaders and project managers, and have worked on a spectrum of independent projects, institutions, commercial settings etc. They both attended the Theatre University of Stockholm between 1997-2001 and have collaborated in various constellations ever since. Shake it Collaborations is funded by: The Swedish arts Grants Committee Swedish arts council The City of Stockholm

How did your summer time go? Did you get any new inspirations? Do you have a best experience during this summer?
We went back to Ponderosa Tanzland where we have been regularly since 2004 but we had a break the last two years. It was fantasticly inspiering and the theme of the year was bitch camp some times turned into a butch camp and there was a lot of gender bender going on but also slow dances, shaking and bakc to the roots of contact improvisations – with Peter Pleyer and Ester Gal teaching. 
Tove also performed here solo piece My Own Bodies which turned into a shaking club.
Otherwise summer means small house on an island, blueberries, swimming, pine trees and ticks.

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?
It varies a lot! It is not always the country, more the venue, what people are expecting to see in that venue, if it is art people in an art/ dance festival coming or if it is a school class or random individual people passing by. Like last week we performed out doors at the Culturefestival of Stockholm, close to the central square. 400 people watching a contemporary dance / performance piece, not knowing waht to expect at all. That is different. Very different. That is when you have to stay open and continue communicate.

What does it mean to you to be in the process and to show the work to the audience? What kind of feedback are you open for?
It is always good, because you feel the reactions, and what works and doesn´t work in  a lot of aspects. And to get you out of your own head, here people talk about what they saw. It is an imrportant part of the work to open the process up. 
This is also something that we have done a lot in the collective, bastasrdproduktion that we worked with before. To have work in progress showings and invite audience to different parts of the process.

Do you read critics about your works? What kind of critic do you need?
Well we read. I think we are more concerned, when we talk about needing critic, to have interesting and honest talks and feedback sessions about our work. 

Do you criticize other’s works? Do you write about it?
It is always interesting to discuss a piece and the work with the makers. No, we don’t write critics for any paper....

Are you open for a round table discussion with the audience after a premier or after your show?
Yes.

Tove and Dag's performance takes place on 21st September at 4 pm in Jurányi Inkubátorház.

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