I am not the one who you think I am | new production 2017!

Dear friends, 

We started the first months of this year with an intense phase of work. The new production with the former title die eine und die andere has changed to I am not the one who you think I am. It will have it's premiere on the 3^rd of March at @ART SPACE stift millstatt. You are cordially invited and we are looking forward seeing you there!

I am not the one who you think I am
Andrea K. Schlehwein
+ NETZWERK AKS | Platform for Contemporary Dance + Art

Premiere 3rd of March 2017 | 8 pm | @ ART SPACE stift millstatt
Performance 4th of March 2017 | 8 pm | @ ART SPACE stift millstatt

Whenever we are dealing with existential questions, doubts and concerns, we find ourselves thrown back to a lonesome desert island. The search for our own identity, questions of 'Who am I?' and 'Do I want to be the one I have become?', permeate the three protagonists in Andrea K. Schlehwein + NETZWERK AKS's first new production of 2017. 
In 'I am not the one who you think I am', AKS sketches a quiet, fragile, physical landscape in concentrated form. Held back and unagitated, AKS choreographs closely along the strong physicalities of her longstanding collaborators Unita Gay Galiluyo, Maria Mavridou and Simona Piroddi, who go back to their personal dance histories, revisit dance sequences from movement repertoire like La Bayadère, Forsythe and de Keersmaeker and finally, like snakes shedding their skins, they arrive back in the present through subtle movement sequences.
As in one single breath, AKS unfolds a dance experience that (beyond contemporary trends) places all emphasis on dance itself and understands the struggle for one's own identity as a fragile building of past experience, memories and the desire for one's own ephemeral self.

translated by Roman Zotter

büro für tanz I theater I produktionen 22. 2. 2017

Choreography. Space. Sound. Light 
Andrea K. Schlehwein
Dance. Creation Unita Gay Galiluyo
Maria Mavridou Simona Piroddi
Photos. Soundtrack. Technic. Artistic collaboration Roman Zotter
Layout collaboration Brigitte Büsken
Production management Eleonore Schäfer

büro für tanz I theater I produktionen 
Produktionsbüro + Management 
Eleonore Schäfer + Andrea K. Schlehwein

Tickets. Prices. Information 
aks.office@andreakschlehwein.com
Tel. +43 4766 35250

17 Euro box office
13 Euro advance booking – also by phone

Address 
ART SPACE stift millstatt
Stiftgasse 1
A - 9872 Millstatt

www.andreakschlehwein.com
www.netzwerkaks.blogspot.com
www.artspace-stiftmillstatt.com

HERE AND NOW - the clip 2017

Freshly edited version from our last performances at TheaterHALLE 11 in Klagenfurt! 

Happy to share! Wish to continue! Thanks to everyone! 

HERE AND NOW 

by Andrea K. Schlehwein + Netzwerk AKS
Clip by Isabella B. Preuer

 

HERE AND NOW . review

HERE AND NOW @ TheaterHALLE 11, Klagenfurt

Join us for two performances of HERE AND NOW! 
We are looking forward to meeting you there!

HERE AND NOW    

10. + 11. February 2017   I   20:00   I theaterHALLE 11  Klagenfurt  

Andrea K. Schlehwein +
NETZWERK AKS  I  Platform for Contemporary Dance + Art

TICKETS + LOCATION

aks.office@andreakschlehwein.com 

+43 4766 35250

theater@klagenfurterensemble.at

+43 463 31 03 00

theaterHALLE 11 . Messeplatz 1 . 

Eingang: Florian-Gröger-Strasse . 

A - 9020 Klagenfurt 

HERE AND NOW | 'Camaraderie' by Shayna Allen

All eight of us surround the wooden table resembling the scene from The Last Supper. Only this was not an act from the piece; rather, this was our lunch ritual. A beautiful array of vegetables, bread, and hummus lie before our muscle-aching bodies. I ask Arnulfo, the Colombian dancer based in Vienna, what Christmas is like without snow. “Actually, in some cities there are indoor ice rinks and areas with fake snow.” Agitated from across the table, Aureliusz refutes with “Jesus’ birthplace was a desert!” He takes a big bite from his bread, “Besides,” he chews, “snow has nothing to do with Christmas.” Aureliusz knew American customs all too well. The theaters in Poland played Hollywood films with one Polish voice actor dubbed over for every character. He then asks if there are really newspaper boys riding their bikes from house to house, and I affirm his belief with, “Actually, throwing papers was my first job.” I was far from America in the tiny village of Millstatt, Austria, but somehow its influence surrounded me.

I didn’t have an alarm clock; instead I woke up to Andrea Maria chopping carrots. Most of the cast lived together in a villa during the rehearsal period. Mornings began with a cutting board because breakfast was a communal affair. Apples, carrots, bananas, soy yogurt, müsli, and on weekends coconut flakes, all went into the bowl. There were six of us, representing four different continents, ranging in age from eighteen to forty, and all of us were under the same brown-tiled roof.

Though at the beginning I was a bit intimidated by my colleagues, we soon developed a bond. Playful banter was to be expected but, most importantly, my opinions were valued which made for a very supportive environment. I was the only native English speaker, and that was the language in which we communicated. Oftentimes the other dancers would look to me for reassurance that what they’d said made sense. As a result, I became more conscious of my word choice as well as my clarity of speech. The second common language was German and, since I had only taken one semester of German, my ability to communicate was limited to the present tense which was fitting because the piece was entitled HERE AND NOW. Our third and most effective common language was, of course, dance.

Along with a performance, the bow is a gesture showing one’s gratitude for the opportunity to perform. I lift my head and the audience is lifted from a trance and brought back to their seats in the theater. The performers become human again and finally, the audience recognizes that we are all sharing the same space. Movement and performance has become more than simply memorizing steps and moving in unison. Performing is the ability to communicate to a room full of strangers without saying a word. And while the relationship built with the audience is important—it seems that so much of a dancer’s career is spent towards the prideful moments of recognition and praise—perhaps most meaningful of all is what the audience does not see: the sense of camaraderie felt between dancers that blossoms through collaboration.