steirischer herbst Graz
Choreography: Anne Juren
Performance: Laia Fabre, Deborah Hazler, Rotraut Kern, David Subal
Set Design: Roland Rauschmeier
Light Design, Technical direction: Bruno Pocheron
Costume: Lise Lendais
Composition, Sound direction: Peter Böhm
Dramaturgy: Silke Bake, Annie Dorsen
Production: Pia Kirchler, Wiener Tanz- und Kunstbewegung
Artistic management: Silke Bake
Thanks to Ulrich Strothjohann and Sandra Noeth.
A production of Wiener Tanz- und Kunstbewegung, coproduced by steirischer herbst (Graz), HAU Hebbel am Ufer (Berlin), Tanzquartier Wien and tanzhaus nrw (Düsseldorf).
Supported by the NATIONALES PERFORMANCE NETZ (NPN) Coproduction Fund for Dance, which is funded by the Federal Government Commissioner for Culture and the Media on the basis of a decision by the German Bundestag. Supported by the cultural department MA7 by the city of Vienna. The guest performance takes place in the context of modul-dance, funded by the Culture Programme of the European Union.
A choreography on the installation of the novel. In „The Happy End of Franz Kafka’s ‚Amerika’“, the last big installation created by Martin Kippenberger before his death, the artist claims to provide a „Happy End“ for Kafka’s unfinished novel „Amerika“. Interested in the transformation from a text into a form – when a performative body has to find his way out of the words - the french choreographer Anne Juren transfers basic motifs from the novel as well as the installation into the domain of contemporary performance: the examination of notions like yearning and failure, belonging and refusal as well as control and loss of control. Juren supplies physical presence to Kafka’s novel – which deals with the individuation of adolescent Karl Rossmann who is sent by his parents to Amerika after being abused by a maid – by reducing the text down to its bare, physical instructions in order to provide them as an outline for the four performers. By using specific memory technics (from learning text by heart to body memory) Juren develops different pathways to embody this information in Kafka's language in order to create a relationship between the inner and the outer world of the performer. This can be seen as a form of collage – a strategy that is present in Kippenberger‘s work - of this two realities. With a hint of humor and the catatonic presentation of the young Karl Rossmann, it occurs a new and unforeseen organisation of relations that gives a whiff of hope as well as a glimpse of a possible fantastic reality