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GUEST ARTISTS 

Spazio-di-ricerca

Fabian Tobias Huster
31/10 - 06/11
2022
Fabian Tobias Huster ist freischaffend als Choreograf, Tänzer, Tanzpädagoge und Schauspieler vorwiegend in Wien und Vorarlberg tätig. Er arbeitet u.a. an Häusern wie Kabarett Niedermair, Dschungel Wien, MusikTheater an der Wien, Off-Theater, Tik Dornbirn und in verschiedenen Filmprojekten. Derzeit studiert er noch an der Musik und Kunst Privatuniversität der Stadt Wien zeitgenössische Tanzpädagogik (Abschluss SS23). Im Sommer 2022 kreierte er im ATLAS Programm des Impulstanzfestivals unter dem Coaching von Elio Gervasi und Angélique Willkie sein Stück „untitled - about surrounding, environment and climate“. Bis April 2023 arbeitet er am MusikTheater an der Wien als Choreograf, Körpertrainer und Tanzpädagoge mit den Künstler*innen Scharmien Zandi, Marc Bruckner und Andrea Konrad zusammen an SuperZero, Baby.
Untitled
„Untitled“ - about surrounding, environment and climate Das Short Work „untitled“ - das im Zuge des ATLAS Programms des Impulstanzfestival Wien entstand - behandelt Themen um Stadtleben, Umwelt, Klima, Natur und Müllproduktion. Im erweiterten Sinne beschäftigt sich das noch unfertige und im Rechercheprozess befindende Werk mit einer konsumorientierten Gesellschaft, die den Bezug zur Natur verloren und Natürlichkeit in einen der Natur fernen Kontext gesetzt hat.

©Michael Almeida Machado

INPUT residency

Gat Goodovitch
24/10 - 27/10
2022
Gat Goodovitch (IS/AT)- Concept & Regie & Choreography & Dance Gat is a creator, dancer, and Yoga teacher based in Vienna. Born in Pennsylvania (US) in 1989, grew up in Tel Aviv, Israel. Graduate from Salzburg Experimental Academy of Dance (SEAD). Gat has worked Simone Forti, Josef Frucek, Birgit Mühlmann-Wieser, Wili Dorner, Barbi Ruder, Shi Pratt, Anna Holter. Since 2017 Gat is working as a performer for young audience collaborating with DschungelWien and Vrum collective. In 2017 Gat established Lazuz, a platform focuses on dance & young audience and started to create her own dance productions and dance collaborations as: Hüpfen, Claz Play, Anne frank and So nah wie nicht zuvor (premiere 7.1.23). Her pieces performed in: Klakkota Festival (IN), The train theater (IL), Plezverkeher (AT), DschungelWien (AT), Tralellea (IT) and more. Gat is a scholar of the Atlas program of ImpulsTanz 2022 & StratStipendium 2022. She enjoys the life of motherhood and creation. Daphna Horenczyk (IS/AT)- Choreography & outside eye Daphna is a dance and performance artist based in Vienna. After graduating from the professional dance training program in Kibbutz Ga’aton, Israel, she moved to Salzburg to study in SEAD both in the performance and choreography programs. During her studies, she created 3 pieces which toured in Germany and Israel. Since 2012 Daphna has been choreographing independently for stage and film. Her work was presented in various venues and festivals in Israel and Europe, such as MASH, Intimadance and Suzanne Dellal Center (IL), No Ballet, PAD Mainz and Schwere Reiter (DE), MAAT (PL), the National Theater of the Faroe Islands (FO) and more. In addition, she is performing in pieces from choreographers such as Ceren Oran (TR/DE), Amanda Piña- Nadaproductions (CN/MX/AT), Andrea Bozic (HG/NL), Anne Juren (FR/AT), Ariel Cohen (IL) as well as many other collaborations. Daphna is the recipient of Startstipendium from the Austrian Federal Chancellery (2019). Since June 2020 Daphna is also a mother.
The heroic tale of a pregnant woman (Working title)
“I think a hero is an ordinary individual who finds strength to persevere and endure in spite of over whelming obstacles.” Superman This dance performance for 15+ is about a hero – a pregnant superwoman. In this solo piece, the performer will demonstrate to the audience her superwoman abilities- through a dance that consists of brave actions, strong opinions, and unique abilities. The inspiration for the movement language will come from my personal experiences and research I plan to make with pregnant women in Vienna, involving a questionnaire and physical tasks. The goals of this piece are to present another perspective on the concept of heroes and to contemplate the definition of one. Heroism is an important quality in the eyes of human beings and in each culture or religion we can find stories on it. But mostly, for us all a hero is a person who have unique abilities, perform courage in dangerous setting even willing to endanger his own life. As a society we need heroes first and foremost because they help define the limits of our aspirations. They symbolize qualities we would like to possess and ambitions we would like to fulfill. I believe a true hero is hard to find because it takes a certain selfless character to be one, and he/she must drastically affect another person’s life for the better which leaves a lasting impression. Pregnancy as heroism Pregnant women show trades of heroism. During the 40 weeks of pregnancy a tremendous physiological and mental changes are happening in the body. The hormone Relaxin makes the muscle and ligaments more flexible; Progesterone gives the skin a glowing sight, Oxytocin stimulates feelings of love and trust. On top of the physical ability developed, many risks and complications can happen during pregnancy: gestational diabetes, preeclampsia, high blood pressure and even death. Therefore, my heroes are all women who changed their appearance, gained new powers, face with courage invading examinations and social stereotypes, and are willing to risk their life for another person without any expectation. Repetitively.

©Ella Felber

INPUT Residency

Daphna Horenczyk
16/10 -22/10
2022
Daphna Horenczyk is a Vienna-based dance artist. Since 2012 Daphna has been choreographing independently for stage and film. Her choreographic language is mainly based on contemporary pop culture and the use of irony and self-humor as critical tools to social phenomenon. Her work was presented in various venues and festivals in Israel and Europe, such as WUK (AT), Suzanne Dellal Center (IL), Schwere Reiter (DE), MAAT (PL), the National Theater of the Faroe Islands (FO) and more. In addition, she has worked with choreographers such as Anna Konjetzky, Ceren Oran, Amanda Piña, and Ariel Cohen. Daphna is the recipient of Startstipendium from the Austrian Federal Chancellery (2019) And since June 2020 she is also a mother.
Passage - rehearsal for birthing and dying
Passage - rehearsal for birthing and dying explores the transcendental states of consciousness accompanying birthing and dying, that force one’s entire existence to the here and now, and asks what our culture can learn from those states. We are searching for a co-existence of this primal state and its representation. Inspired by Tableaux Vivants, 5 performers and a musician travel through journeys in a birthing/dying-like state. Moving from this state of openness, perceptiveness and alertness we offer to explore unfamiliar territories of creativity, expansion, multiplicity of identities and new paths into the subconscious. As the performers dive deeper and deeper into the state of transcendence in stillness, in movement and in sound, the viewer is invited to dive into a process starting from the individual's coping with their own birth and death culminating in a collective celebration of life.

©Daphna Horenczyk

INPUT residency

Giulia Di Stefano
10/10 - 15/10
2022
Giulia Di Stefano is a contemporary dancer and creator based in Salzburg, Austria. Originally from Italy, she started her dance training in classical and contemporary techniques at a young age. In 2016 she takes part in the Agora Coaching Project (RE, Italy) where she deepened her studies in contemporary dance. In 2017 joins the 4 years undergraduate program at SEAD Salzburg Experimental Academy Of Dance (Austria) where she had the opportunity to work with international choreographers such as: Edivaldo Ernesto, Lisi Estaras, Tom Weksler and Roser Tutusaus, Milla Koistinen and many more. She graduated performing BOLERO Femme, choreographed by Jill Crovisier. Since 2021 is a freelance artist, teacher and creator internationally.
Never Were the Way she Was
'Never Were the Way she Was' is an exploration of internal conflicts, of contrasting emotions ; it is the story of a struggle and a will for liberation. A sensitive yet strong feeling that stops things from happening, that blocks, that tightens. A sensation that invades the body, the air, the mind. A discovery of the sensible being and the obscurity that is hidden within. "Unfurl your fingers one by one until your hand is open. But my hand has been clenched into a fist for years now; it’s frozen shut." Gayle Forman

©Giulia Di Stefano

INPUT residency

Cat Jimenez
26/01 -28/01
2022
Cat Jimenez is a performer, choreographer, cypher enthusiast, and nostalgic visual artist. She has worked with different companies including Hungry Sharks, Potpourri, and n ï m company. Received the ImPulsTanz festival’s danceWEB and the Stadttänzerinnen Klagenfurt scholarships in 2017, the Austrian Federal Government’s START scholarship in 2018. Her duo performance WHAT’S THE DIFFERENCE? with Maiko Sakurai Karner premiered at imagetanz 2019. While dance has always been a personal means of expression to Cat Jimenez, she doesn’t shy away from recontextualising her art forms so that they carry her vision. Ultimately her art presents and queries underlying mechanics that shape and form people’s and society’s experiences of life. But more than just presenting these contents, her desire aims at establishing a space that encourages mutual understanding and co-creation. Art direction, concept, choreography: Cat Jimenez Co-conception, artistic collaboration: Imani Rameses Co-choreography, performance: Miranda Rumerstorfer, Youngung Sebastian Kim, Imani Rameses, Cat Jimenez
losing face
'losing face' takes a deep dive into the convoluted interweavings of the colonial mindset. Compliance is a small price to pay for an illusion of a quiet existence, but when does existence become submission? Four non-white performers from a variety of movement backgrounds negotiate their place in a predominantly white country – a supposed harmony. Yet, the living portrayal of harmony invites more dissonance making the lullaby of indifference an enchanting tune. Are the performers able to unlearn and untangle oneself from being made to feel less? The more one tries to 'save face one loses it' even more. 'losing face' dances through contradictions of colored truths, negotiating the rhythms of an undeniable urgency.

©Christine Miess

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