Cie 13/Rosa Mei - Antwerp/Prague/L.A.

04.12 FENDER BENDER - PRAGUE

For the PRAGUE QUADRENNIAL SYMPOSIUM, Rosa Mei discusses the creation of FENDER BENDER: Studies in Twin Reverb. The piece had 19 sections which occurred in various areas of the stage which was full of hanging cords, microphones, amps and trash sound objects. These 19 sections corresponded to parts of a fractured memory, the undoing of a perfect porcelain creature. I sequenced the sections not chronologically, but to trigger memory... sections such as "aftermath/entanglement", "emptiness", "cartilage".and "Mr. & Ms. Prime Minister."

Says Rosa Mei, "Three months after the premiere, I remade the piece and told the two performers (the sound artist and dancer) that they could rearrange the sections in real time without each other or me knowing. They knew the base component material well enough to be able to take unspoken cues from each other. The lighting designer also had to follow them onstage, not knowing the new, unraveling order. The mode of storytelling actually became more and more organic over time. We kept re-sequencing the deconstructed piece and thus bent "Fender Bender." We never reverted back to the original order of the 19 sections. I will explain why."

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06.12 BLUEBIRD - Plovdiv BUlgaria

BLUEBIRD, a new solo choreographed and danced by Rosa Mei, is a elegiac eulogy for a departed soulmate. It is based loosely on Charles Bukowski’s poem “Bluebird.” “There’s a bluebird in my heart that/wants to get out/ but I’m too tough for him/ I say/ stay down, do you want to mess/ me up?” This dance serves as a type of memorial, used as a farewell or a way to help the bereaved find comfort and closure, a means of finding beauty in tragedy.
Blackbox Theater Festival (Plovdiv, Bulgaria), June 2012.

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09-10.12 STUDIO XX RESIDENCY - montreal

Virginia Woolf once wrote, “For most of history, Anonymous was a woman.” Throughout history, war and fighting have been seen as men's activities, yet women have always been involved in battles and seiges, not to mention duels, prizefights and so on. Women often took part in battles was when their home, castle or town was attacked. They could be part of a town's militia on the same basis as their male counterparts. A medieval lady would have expected to take charge of defense of the family lands in her husband's absence. Noble ladies could also lead armies in the field, both in local conflicts and in expeditions such as the crusades. There were also a few women who were ordinary soldiers or sailors in armies through the ages. Some of them disguised themselves as men, but not all.

In WOMAN WARRIOR, Rosa Mei, a choreographer/director and professional martial artist based in Prague (CZ), will create a time-lapse journey of the female fighters from 3500BC to the 21st century. Using green screen compositing and keying effects, she will transpose her own martial arts moves onto historical images of woman warriors from prehistory to present day.

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10.12-01.13 NOREWEGIAN GIBBON

In NORWEGIAN GIGGON, Haukland and Mei are creating a new type of movement vocabulary based on the body percussion of Chinese kung fu. Both performers have over 20 years of experience in martial arts and are senior disciples of the renowned Tongbei kung fu master Zhang XinBin. Tongbei style kung fu is based on the movements of the white gibbon and is characterized by long swinging arm movements, agile footwork, and percussive stomping and slapping of the body. Mei and Haukland have collaborated on two large scale works to date, Zoetrope I & II, a coproduction of Cie 13 (BE) and the Beijing Modern Dance Company for the Europalia 2010 Festival, and Havamal, a martial arts ballet which toured Scandinavia in 2011. NORWEGIAN GIBBON will be their first duet together.

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