{"id":3036,"date":"2024-02-27T09:54:09","date_gmt":"2024-02-27T09:54:09","guid":{"rendered":"https:\/\/newbalticdance.lt\/?post_type=mec-events&p=3036"},"modified":"2024-05-02T16:55:40","modified_gmt":"2024-05-02T13:55:40","slug":"benjamin-kahn-belgium-france-bless-the-sound-that-saved-a-witch-like-me-2","status":"publish","type":"mec-events","link":"https:\/\/newbalticdance.lt\/en\/renginiai\/benjamin-kahn-belgium-france-bless-the-sound-that-saved-a-witch-like-me-2\/","title":{"rendered":"Benjamin Kahn (Belgium, France) \u2013 BLESS THE SOUND THAT SAVED A WITCH LIKE ME"},"content":{"rendered":"Tickets<\/span><\/a><\/span>\n

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ATTENTION.<\/strong> Strobe light effects are used during the performance. Also, the performance features high volume sound. Spectators arriving late will not be admitted to the performance.<\/p>\n

Duration:<\/strong> 40 min.<\/p>\n

The cry became the starting point of the mono-performance. The cry, which is often perceived as a means of expressing anger or hysteria, is seen in this work as the most immediate and audible means of immediate personal expression in the political and public sphere. At the same time, it is a dramaturgical and choreographic device that helps different realities and their crisis states to coexist and mingle.<\/p>\n

Through a powerful physical and sonic journey, it is a question of allowing the public to encounter beauty, harmony and symmetry, making this vital impulse accessible again.<\/p>\n

Bless the Sound that Saves a Witch will be a performance like a cry of alarm this time in the context of the geopolitical, ideological and ecological crisis we are going through… It is a mirror of what we want to see or show. Sati Veyrunes slides from one state to another, blurring and dispelling the boundaries between genders, sometimes mother, young boy, woman or creature\u2026<\/p>\n

\u201cChoreography is considered a powerful political tool that allows me to question the intimate and the collective. Whether filled with rage, pleasure, pain or silence, the cry is a powerful and deeply intimate act. It provokes an instant empathy that also summons what we have in common and instinctive\u201c \u2013 <\/span>Benjamin Kahn.<\/p>\n

Benjamin Kahn<\/strong> (choreographer) is a dancer and choreographer. He studied dramaturgy and theatre at the University of Aix en Provence and the Conservatoire de Rennes and graduated from ESAC (\u00c9cole Sup\u00e9rieure des Arts du Cirque) in Belgium. After his studies, he collaborated with choreographers such as Philippe Saire, Benjamin Vandewalles, Nicole Beutler, Ben Riepe, Fr\u00e9d\u00e9ric Flamand, Maud Le Pladec, Egle Budvytyte and Alessandro Sciaronni.<\/p>\n

He considers dance and choreography as powerful political tools and is particularly interested in the construction and deconstruction of how we view individual and collective bodies.<\/p>\n

Sati Veyrunes <\/b>(performer)\u00a0Born in 1995 in Grenoble, she graduated from SEAD (Salzburg Experimental Academy of Dance) and currently lives in Marseille.\u00a0She works with Oona Doherty, who gave her solo “Hope Hunt and the Ascension into Lazarus”. Sati works internationally since 2021. Sati and Oona continue to collaborate on other film and choreographic projects, including “Hunter Filmed” (2021) and “Navy Blue” (2022). From 2023, Sati performs “Bless the Sound that Saved a Witch Like\u00a0 Me”, a solo written for her by Benjamin Kahn and selected at Aerowaves 2024.<\/p>\n

Sati Veyrunes is a laureate of the New Grand Tour 2023, a program designed by the French Institute in Italy (IFI) \/ French Embassy in Italy to begin her own research around the notion of embodiment.<\/p>\n

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Concept, choreography: <\/b>Benjamin Kahn<\/span><\/p>\n

Performance:<\/b> Sati Veyrunes<\/span><\/p>\n

Music Design:<\/b> Lucia Ross<\/span><\/p>\n

Light Design et Stage Management:<\/b> Neills Doucet<\/span><\/p>\n

Dramaturgy Assistant:<\/b> Th\u00e9o Aucremanne<\/span><\/p>\n

Outside Eye: <\/b>Cherish Menzo<\/span><\/p>\n

Costume Eye:<\/b> Carolin Herzberg<\/span><\/p>\n

Sound Engineer: <\/b>Louis Daurat<\/span><\/p>\n

Texts:<\/b> Benjamin Kahn directly inspired from Pier Paolo Pasolini, Death Grips, Darek<\/span><\/p>\n

Jerman, MAVI.<\/span><\/p>\n

Executive Production: <\/b>Les Halles de Schaerbeek, Actoral Marseile<\/span><\/p>\n

Administration, production: <\/b>L\u00e9onard Degoulet<\/span><\/p>\n

Touring, development:<\/b> Sandrine Barrasso<\/span><\/p>\n

Coproduction: <\/b>Klap Maison pour la danse, Charleroi Danse, Les Halles de Schaerbeek<\/span><\/p>\n

Accueil en r\u00e9sidence: <\/b>Festival de Marseille, Centre National de la danse Pantin, Klap<\/span> Maison pour la danse, Kaiitheater , BUDA Kunstencentrum, Theater Rotterdam<\/span><\/p>\n

The solo for Sati Veyrunes \u201cBless the sound that saves a Witch like me\u201d is the second part of a trilogy that will also be presented in its entirety with the pieces \u201cSorry, But I Feel Slightly Dissidentified\u2026\u201d solo for Cherish Menzo, and The Blue Hour solo for Theo Acremanne. The trilogy is a winner of the TRIO(S) programme supported by SACD and ONDA in 2023.<\/span><\/p>\n

\u201cBless the sound that saved a Witch like me\u201d is selected in the frame of Aerowaves Twenty24 with the support of the European<\/span> Union.<\/span><\/p>\n

Premiere: <\/b>March 20th, 2023 at KLAP Maison pour la danse Marseille in the frame of + de Genres Festival<\/span><\/p>\n

Photos: <\/b>Bas Czerwinski, Sandy Korzekwa<\/span><\/p>\n