How do we evaluate what is real and what is not? And to what extent is everyday life a performance? In the age of mass produced visual media and steadfast obsession with preserving the youthful body, it is almost impossible to distinguish between appearance and existence. In her latest work ›Escape Act‹, Alexandra Bachzetsis turns her attention with subtle irony to the construction of authenticity and investigates its manifestations in everyday and pop culture.
Quoting in her choreography performances of Vogueing, YouTube tutorials for “posing” and “realness” and Oskar Schlemmer’s treatment of forms in Das Triadische Ballett, she plays with both magic and scientific laws of perception and articulates fantasy as a choreographic horizon, as a possible existence between the established canon of corporeal codes and low-culture body languages, between improvisation and norm, between difference and repetition.
Concept, choreography: Alexandra Bachzetsis Creation, performance: Alexandra Bachzetsis, Jia-Yu Corti, Tamar Kisch, Owen Ridley-DeMonick, Gus Solomons, Johanna Willig-Rosenstein, Sotiris Vasiliou Text: Paul B. Preciado (Excerpts from the poem ›Love is a drone‹) Collaboration, dramaturgy, movement director: Anne Pajunen Collaboration, dramaturgy, objects: Sotiris Vasiliou Communication design: Julia Born Photography: Blommers/Schumm Costume design: Christian Hersche in collaboration with Ulla Ludwig Music: Lies Vanborm, François De Meyer (Audiotheque) Music research: Anna Zaradny Light design, Technique: Patrik Rimann Production: All Exclusive Executive management: Anna Geering Production manager: Marina Miliou Production assistant: Felipe Katotriotis
Supported by: Stadt Zürich, Kanton Zürich and Pro Helvetia-Schweizer Kulturstiftung, Fachausschuss Tanz und Theater BS/BL, Société Suisse des Auteurs, Ernst Göhner Stiftung, kurimanzutto
Co-production: with Gessnerallee (Zürich), PACT Zollverein (Essen), HAU Hebbel am Ufer (Berlin), Les spectacles vivants du Centre Pompidou (Paris), Tanzhaus Zürich, Kaserne Basel
A project within the framework of the Alliance of International Production Houses supported by the Federal Government Commissioner for Culture and the Media