13, 14, 15 of July 8 pm MO Museum, the Terrace

(Please note that the time of the performance at MO Museum has been changed – from 7 pm to 8 pm. Those who already have tickets with 19:00 do not need to change them)


16 of July 6 pm Molėtai

The tour in Molėtai is cancelled


TANZANWEISUNGEN (it won’t be like this forever)
Moritz Ostruschnjak (Germany)

Choreography: Moritz Ostruschnjak
Choreographic assistance: Daniela Bendini
Dance: Daniel Conant
Dramatic adviser: Carmen Kovac
Light design: Benedikt Zehm
Costume: Daniela Bendini, Moritz Ostruschnjak
Production management: Hannah Melder

PR: Simone Lutz
A production of Moritz Ostruschnjak in collaboration with Bayerische Staatsoper. The artist is supported by Réseau Grand Luxe 2019/20 and is a member of Tanztendenz München e. V.

Presented with Aerowaves
Duration: 30’

Premiere: 2017

Supported by the NATIONALES PERFORMANCE NETZ International Guest Performance Fund for Dance, which is funded by the Federal Government Commissioner for Culture and the Media.

It won’t be like this forever – this is what the sign says that choreographer Moritz Ostruschnjak carries across the stage, while dancer Daniel Conant performs a Schuhplattler for an audience which is properly seated according to the new Corona guidelines. The thirty-minute solo TANZANWEISUNGEN (dance instructions) is full of self-reflective and ironic references that defy any specific definition. Ostruschnjak remains true to the eclectic style of his latest productions and allows his soloist to transition effortlessly from a Schuhplattler to a grand jeté, from boxing footwork to break dance moves and from a référence to the jump rope; the common element is the sound, the pounding, clapping, breathing, jumping, bouncing that fills the space as a consistent rhythm. As if he had been wound up, the protagonist tirelessly works his way through the extremely diverse canon of movement, assuming poses of resistance, combat and victory, stylized masculinity, youth culture, classic ballet, ballroom dancing and sports in rapid succession – an absurd sequence of divergent elements that overdraw, ironize and contradict each other and that, in combination, playfully yet relentlessly lead into an abyss. Accordingly, the piece ends with DAF’s provocative song “Der Mussolini”, a literal dance instruction – “dance the Mussolini, dance the Adolf Hitler, dance the Jesus Christus…”

In his works Moritz Ostruschnjak dwells upon the transformations in physical and social experiences in times of digitization and virtualization. His pieces are spaces made up of hyperlinks which utilize the media-machinery of the 21st century as a motif as well as an archive, thus mirroring and reflecting social processes. Following the principle of pick & mix and cut & paste, highly heterogeneous elements and connections form the narrative of a reality in which the boundaries between politics, entertainment and populism become increasingly indistinct. As an active member of the sprayer scene, Moritz Ostruschnjak developed his interest in contemporary dance through breakdancing. He studied at Iwanson International in Munich and completed his training with Maurice Béjart in Lausanne. After this, he worked as a dancer at home and abroad. He has been working as a freelance choreographer in Munich since 2013 and created the solo “Island of Only Oneland” and the ensemble pieces “Text Neck”, “BOIDS”, “UNSTERN” and “AUTOPLAY”. His pieces have been performed at TANZWERKSTATT EUROPA and RODEO – Münchner Tanz- und Theaterfestival, the production “UNSTERN” was selected for the TANZPLATTFORM DEUTSCHLAND 2020. He has also created commissioned work for various theaters in Germany. In 2021, his new production “How many angels can dance on the head of a pin?” (working title) premieres in Munich.

Reviews:

“On a platform surrounded by fluorescent gas tubes, a slim person, wearing a baseball cap, mustard yellow T-shirt and bright red boxer shorts, a caricature of himself, pumps himself up to a triumphant victory pose. (…) and starts to “Schuhplattel”, beats changing, increasingly complex rhythmic beats on chest, stomach and thighs, stomps with sneaker-shoed feet, jumps and turns. (…) Conant spends a full 15 minutes in acrobatic body twists, dribbles like Muhammad Ali, demonstrates a variety of tricky ballet steps and poses. He demonstrates ballet as physical training, what dancers have been practicing ironically at home since the crisis for the day when all they can do will once again merge into visible art.” (Eva-Elisabeth Fischer, Süddeutsche Zeitung, June 08th 2020)


“Winking drastically. Under exceptional circumstances. And aware of the current explosive situation. Moritz Ostruschnjak makes all this physically palpable in his premiere “Tanzanweisungen” (Dance Instructions). What you see is a firework of steps, turns and kicks (…) sometimes upbeat, sometimes contritely contrite. Boxing arms, signal fingers, sexy hips and punches against heart and forehead. In between again and again graceful balletic sprinklings. (…) Like a rubber ball turned into a human being with an occasional flaccid side. Whether it’s burning energy with imaginary rope skipping or gun salvos. Conclusion: Ostruschnjak’s “Dance Instructions” are an occasional piece, but by no means a compromise theatre!” (Vesna Mlakar, Abendzeitung München, June 8th 2020)