Joined in the studio to discuss this weekends bomb the sneak action by bonus league a journalist kip holden will be asking will shock and labor manage to win a game sometime soon im sure their fans really want a good roeser of for them so do send us your questions for him to be addresses on your screen now its time to say goodbye will be back of course since its hard to over. Here so much great moments from the weekend so far so for me and the rest of the team here. We talked to sasha. Choreographer constantly pushing the limits of Dance Theater the funny thing was. The high school shes been dancing against the current for twenty five years where does she get her energy from me. Next w. The pain still tangible. For god. To cities and strive more. Have survived but do they also have a future. Out of darkness cities after war in forty five minutes on d w. The first time im doing detailing. The article you have incredible its a whole new world of. Online insiders space. Its a new era of sexuality. Will lovesickness be a thing of. Sexual frustration too much i still have to get used to these robot noises exploring new frontiers in sex and love three point zero. Stuff of ten to twenty fifth on the c. W. Results of bugs has liberated contemporary dance by crossing boundaries germanys renowned choreographer is in constant search of new challenges and collaboration is with other artists. For twenty five years shes led her company belton guests on journeys into the unknown. Caught in the stack of those i mean the strength of dance lies in the freedom of its language but if i wanted to work in a way that was more linear i would just work in theater to our. In the early one nine hundred ninety s. Abouts left new york for a newly when you know five berlin since then voters had one success after the other we sat down with the energetic choreographer to talk about her rise from the french to major opera houses and her next job as courtis to director of the berlin state ballet. Performance was used to order your company twenty five years ago with your hands under it could you ever have imagined the International Success youve had since africa. Nonce entire noises and after in one thousand nine hundred three after the fall of the berlin wall and shortly after unification the Central District of measure was a place of seemingly endless opportunities. We only opened our venue in the fields area three years later and nine hundred ninety six. Before that we were like nomads wandering from one industrial space to the next and each time we started up a new studio there is an unfun from the outset we toured internationally we toured the u. S. In our second or third year we traveled to india and toured a lot in europe peeling off. So right from the start travelling was part of our identity it was our aspiration and our concept. Of such that nestles at us that we wanted to build bridges with our art and take it to different audiences to countries and cultures that also inspire our work. For the new year is so in that respect alive today isnt all that different than it was twenty five years ago. Isnt anyone gets nice who. Was its our. Sophie and zillah emitter once hosted meetings of left wing revolutionaries later it was used by the nazis then it was a feeler workshop with its dilapidated charm and checkered history it was the perfect setting for such about his breakthrough production. And offbeat provocative production part of a trilogy on the absurdities of domestic life the Company Research for months in communist era housing complexes. Initially of arts danced along with her ensemble but she was always striving for new forms of expression and cooperation with other artists for her dance along with never enough. Help ask mine that i know. Ten seven i began downs lessons with one teacher i started taking classes from the age of five and the teacher i was with tell the age of twelve had studied under mary whitman so i have a very very deep connection to german expressionist dance kind i just got up but it didnt really influence my decision to start dancing professionally because at the time i wanted to pursue a career in the visual arts. Thats it was only three my discovery of post modern dance and contact improvise ation and all of these consciousness techniques that i developed an interest in studying dance. This and. Intricate consistently in the life i love you generally dont produce strictly narrative pieces its not Dance Theatre which some critics hold against you. They say your work is to associate ivar serial. Are you bothered by such criticism or. That isnt the critic. To be honest i cant remember reading such reviews and normally i dont read reviews anyway. I see if ariel dimension that is access through association is very important to me and in our communication with the audience then us and i think thats purely one dimensional way of saying just one thing and everyone understands the same thing i find that boring. Through. It has to be something that speaks to each individual in a unique way. The touches something deep down in each person and the audience. But it has to be entirely free. Of us with guns prize thats when the work becomes profound as it does when it touches on the mystery inside you or that the money is gone and that doesnt happen if youre simply telling a linear story. For us lets hear it. Involves developed one of the most significant productions kerber during her five year stint as courtis to director of berlins shall be in a theater its an exploration of anatomy that delves into every aspect of the human body. Time and again the company conjures images that sear themselves into the viewers memory like a nightmare. At the same time vult isnt afraid of venturing into more abstract territory in her piece from now on she takes dance back to its origins in ceremonial rituals. While her early works were wild her later choreography is feel more crafted for a three hour tour she transforms dancers into animalistic creatures and explore social issues like power and helplessness freedom and control. Your mother was a gallery astin your father an architect so you may have inherited your talent for strong visuals from the one side. But space has also always played a key role in your work its very central. What do you look for in a space could you imagine staging a production for example at the building site of berlins new International Airport through coffin solution. Youre outpost and think i shall spawn doughton he asked buildings eyes are certainly intriguing spaces and weve often rehearsed a building site the Jewish Museum had only just been completed it was still empty when the collection hadnt yet been installed and the boys had usually we perform at that intermediary moment before the space assumes the function it was designed for so before the exhibit moves in and spawn ot i was get excited because its really a moment that breathes life into a space its a real integration. By it that i became really clear to me without work for balance noise mostly on. The off the space have this Incredible Energy that had been abandoned for so long and then undergone twelve years of reconstruction. On the spot so it was intriguing for me to envision what it would become and to awaken afterlife with darts past as i know that one does tend to those thoughts on. As a device but for example we focused on the cult of the dead in a room that would display the past of queen efforts. The noise museum houses a large injection collection and thats why i did a lot of research on ancient egypt if you actually. Want to so it also gives as inspiration not just the building in the architecture such its the site in its entirety that shows me how to put a space and motion that all done with vehicles at the me i am twenty thirteen the company was invited to kolkata then calcutta to cap year of Cultural Exchange between india and germany off the production was staged in the courtyard in wings of an old private palace dating from colonial times. Such abouts collaborated on a project with the indian choreographer apartment each a tour and her ensemble. I am. On the project in kolkata was very unusual it was an old palace so naturally a different way of telling stories a marriage because the rooms had simply been sealed off and there was this life that had taken place previously as have time it stood still like a fairy tale when everyones fallen into a deep sleep and time goes on and the pictures on the walls fade to black and dust settles everywhere on to papers on the bed it was really a very interesting experience. You have the noise all across the off without you calling to new genres the choreographic opera it incorporates elements of contemporary dance into operatic Stage Productions but it treats all parts as equals music the dancers the singers in all embarrassing art form what appeals to you about working on the stages of major opera houses and institutions. First in your thoughts. For misfires and then when. That was a great experience for me to be able to choreograph a body of people as a whole i and then of course incorporate carpark. So its not about the dancers on a choir and soloists anymore but about the group who. Becomes an entity and you cant really identify who is doing what all and i extended that idea and began working with august recess so that they also start moving start dancing so that the orchestra would also become run body once you can achieve an amazing dynamic in a room where sound literally moves. Then clung this. Am. Many of the worlds major opera houses were now open to her and parents tokyo and berlin. But. She would oversee the entire stage production managing to transform even the unwieldy medium of opera and give it her own signature. And. You said you often look for female protagonists in opera to medea was one of those how did you deal with her character. I think shes usually condemned as the barbaric child murderer. In the. Production coincided with the case of a mother here in germany who was on trial for murdering her children what approach did you take for the piece medea. Its been this i think theres no bond flick well i think shes a very interesting character but shes also very ambivalent i wanted to take time to think about her intensively without judging. By now just imagine at what point as a woman capable of killing her children what extreme pain or despair do you have to experience to reach that point as a. So way since high point of all. I found it very difficult to put myself in that position and direct the production. Alight and of course i had to imagine it and be part of it which at times was unbearable. Theres heaps of fuel and as a sniff it was really hard to give myself over to it. On a sponge as. A case. Of clients a big. Midair is one of the best known characters in greek mythology she famously helped jason and the argonauts retrieve the Golden Fleece jason then married her only to later leave her for another woman the daughter of the king crayon medea took revenge by killing crayon his daughter and her own two children to eat. In this production the children as ourselves and her husband york in zombie were part of the cast further intensifying the emotions felt by their mother. For the kenosis and for the children it was like playing it was a great experience for them they learned all the songs and the wonderful thing about theater is that it is a lot like playing we play day and then we all get up again. And then mark with your children more often with you during productions and while traveling or on tour and the dentures were with you to. Buy it was like one big family for you it was a for me if you was it done with a. Babysitter and interest i always had babysitters with me. But they did spend a lot of time with the dancers during rehearsals for. Made in canada and when they were dancing too they were just part of the cast they didnt get any special supervision oil or no i always tried to have them with me so i never forced them to come by so i always asked of thats what they wanted one but i just wouldnt see enough of the children otherwise because we spent a lot of time working and at the theaters and were often out in the evening. Out of obviously were trying to strike a balance. But fortunately both the children love dancing and singing im going to the theater and playing theater. So it seems that passion has been passed on to them. But. You have invested a lot of time in promoting young talent start you have the childrens dance company. Parent company youve also been involved in dance in schools how important is that to you. This this is. Yeah does as is. My interest in children stance actually came with my first child last night my. Last little i got on a workshop at a school and it grew from there thats what they love either and they couldnt help busy i found it more and more interesting as i realized how important our interest particularly for children approaching puberty and the couple interacting with other peoples bodies with their own bodies their own selfimage is because youre very much confronted with yourself in this process because youre working in a group that lance if they learn a lot about Group Dynamics you get a new spatial awareness how do i move within a room how do i stand in relation to somebody else im. Really a great help in everyday life its not that Everyone Needs to become a dancer its about learning to live in your own body to feel your body and to feel at home when your body. Is. Holding and if youve ever. Last year you yourself danced again youre at the ready as is tim for the project to her and. Do you miss dancing would you like to do it more often. Than. Anywhere on the i love dancing on stage but i cant do both if im choreographing a big piece i cant be on stage myself as well thats just the way it is but if i can dance for special projects now and then im happy and. Out of work its been ok. The sun one of those special projects superman or listen it offers dancers and artists from various parts of the world scope to interact and explore current political and social issues through art an opportunity for us of all still explore and improvise to. Get the most took at the roots as i did you know passing on a growing number of pieces to outside Companies Including some abroad where your dancers oversee the rehearsals and if there is this an opportunity to release the ensemble to work independently of you align our bad work and. I yes this is a new branch of my work you could say. I think its good for experienced dancers to pass on what they know and that these compositions continue to live on and the Younger Generation feel it and said that many dancers who passed on works continue to dance themselves i think its good to give others the opportunity to be involved but it becomes like a whole new production you think you just passing something on but thats not actually the case things would work out but its i work on it its marginalized i usually do a workshop of the dancers where i go through the entire piece as its intended with all the moves so that i know what its all about where these boys in it intends and thats not just that i cant do that a lot. But its exciting to pass something on and watch it take on a new life and to remain it is that noise. In the spring of this year the day after the levee will in lisbon performs national bounces piece up onto. The dancers spent five weeks rehearsing and. Then turned up to add the finishing touches. To of her experience dancers had overseen all the rehearsals. From israel. And cloudier show others from portugal. It was their job to help the dancers find their own style rather than just copying certain moves suddenly the two were working as equals alongside their longstanding boss i think its working relation of many years and the personal relation also you know so there. I think in that case gives a lot of trust like she gave her responsibility to hand over the piece and she gives a trust and also we have been working with them for five weeks so we can actually we know them better than her in this situation so its a its a good thing that we still stay. In communication with each other for certain things and then something she comes and she wants to bring it from the outside more her own home owner sensations and smell and to put something on top of what we brought but its its a long term collaboration so we are communicating in a very natural way that truly happy my so i still see things differently sometimes and i pass on the specific details that are important to me. But i know that the dancers ive chosen are very precise and that i can trust them and so far its worked very well touch wood and theres been no problems if i enjoy being able to let go and step back a bit in the piece takes on a life of a time and its not a fixed creation rose and moves away from that back. When yeah. Lets talk about your new production exodus which you did for the twenty fifth anniversary of your dance company. Exodus from the greek both in the sense of departure and escape what led you to this idea. That had. I was weak and it was this idea of fleeing from morris scaping from something finding our way out obviously we associate it on the one hand with the bible and the exodus of the israel lights from egypt. But when youre in greece for example you see it written in every subway station many clubs and bars have adopted the name exodus. Fascinated me and thats after i decided on the one hand. You have this idea of a group thats running away their corporate fleet leaving one place and moving somewhere else in. It on this and i gather this process that takes place more in the mind. Is often coupled with all step out of your body into another dimension and to this techno trance or ecstasy picking up off kind of a man or a Tesco Express bus gets very much about a Group Experience it includes going to and past the point of exhaustion what the audience. And so thats like a journey to. A journey that last two and a half hours involving captivity then finding a way out and escaping it raises questions such as what were fleeing from and where to exodus is intense and heavy going and for now at least it will be the last production that sasha about stages with her company. She will remain the official director but she will leave the body as is dame it will continue as a production and performance venue for the company but she now has a new position shell become the first woman to head up the highly traditional berlin state ballet. Five is nonsense in twenty nine thousand youll take over as artistic director of the berlin state ballet alongside your highness ermine are you excited maybe a bit apprehensive. Now theres no cause at all for on the start taking on the state ballet is certainly a major challenge so ive been preparing for it for two and a half or nearly three