Fluid Theatre beschäftigt sich nicht mit vorgefassten Erzählformen. Es suggeriert einen plastischen, sinnlichen Zufluchtsort in Form einer vergänglichen Architektur. Permanente Bewegung und Umgestaltung sind wesentliche Eigenschaften dieses fluiden Habitats, das im Zusammenspiel von körperlichen, visuellen und akustischen Interaktionen gestaltet wird. Der visionäre Raum des Fluid Theatre duldet keinen Stillstand. Die Haut wird zur sinnlichen Metapher für Verläufe des Streichens, Faltens und Bedeckens, die sukzessive die Dramaturgie eines un-wirklichen Schauspiels bestimmen.

For the second time Georg Blaschke and his team develop a choreographic work specially designed for the inspiring space of the art gallery located in the Viennese city centre. This time it is made of two male solos which are integrated into the running exhibition of artworks by Michael Blank.
With F L U I D  S K I N  we address the question of the relations of moving surfaces. Choreographically structured bodily actions, light projections and overlays of patterned fragments generate virtual rooms within the given space of the gallery. In these unreal rooms the performers follow a covered subtext, that enables them to nest in this fluide habitat. The sound installation especially devised for the site intensifies the experience of an imaginary place of refuge while concurrently complementing  the development of a choreographic model that is transferable to other rooms.
Bodily actions, acoustic and visual interventions are treated equivalently in the parameters’ interplay of the live performance.

ENG PENG! das Himmelreich is the result of an inclusive research process on the subject “tight”, which was led by Georg Blaschke and created in the timeframe of nine mornings in two different rehearsal spaces.  It is the first guest choreography for tanzmontage.Balance, a group of performers with different abilities led by Sonja Browne/danse brute and Inge Kaindlstorfer/Lux Flux.
At the centre of the choreographic action, group pictures and partnering work stood, which displayed varying relations of nearness and distance.  Further the question of the group’s  inherent perception of time was explored as it crystallized out of the  practice of mutual attention in the process of interaction of the performers with their own bodies as well as other bodies..
From this arose fascinating, surprising and unpredictable moments that, just like the everyday artistic encounters that occurred, contributed to the refinement of the observing gaze.

This work is based on solo formats that were developed by the students, who took their inspiration from individually selected works of visual art. A one-week intensive confrontation with the practice of the Feldenkrais method led to a refined awareness of touch qualities, to an increased mobility – particularly in the chest area – and to the development of gestural references to the surrounding space. As a result the material originated from the solo works was used to create partnering and group sequences, which in turn contributed to the design of a cumulative choreographic landscape.

This solo sums up Georg’s 2-year involvement with The Last Judgement by Hieronymus Bosch. Stains takes into account the various details of the icons as well as the inherent choreographic potential of the painting: it attempts to leave behind traces of the relationships between picture and choreographic gestures understood as catalysts for drama and significant images. The body is acknowledged as an instrument of arrival, memory and progression. The choreographic method defines itself as a process of exposing and clarifying the necessary gestural references and their orientations in the space.

Painted half a millennium ago, The Last Judgement is for me a loud image that is not only an outcry because of the multitude of tortured figures, paradoxically depicted expressionless, but rather because of the excessive thickness of simultaneous events, which can hardly be enclosed and held by the retable. Everything urges. – A visionary kaleidoscope of world’s condition – past and present – that provides us with specific information about the perverted relationship of men towards their own bodies and the bodies of others. 

An exclusive performance event in the adapted location of the former bakery Schrammel in the City of Vienna!
b r a n d e n is a performative work for three women, originally  designed for the Paintings Gallery of the Academy of Fine Arts in Vienna and its special exhibition Lust am Schrecken / Horror and Delight – expressions of fear. The musical score is  based on traditional polyphonic songs and is entangled with gestural and choreographic sequences. The unconventional expressive language of the thrilling performers Clélia Colonna, Rotraud Kern and Mirjam Klebel conveys a personal (feminine) image of  horror and delight into movement, voice and echo.

The performance will place directly within the space of  the Gallery Jünger surrounded by the actual exhibiton by Werner Schnelle and Uwe Hauenfels.

In collaboration with the Academy of Fine Arts in Vienna and the Paintings Gallery Georg Blaschke and his artistic team presented two new creations that were shown in the frame of ImpulsTanz – Vienna International Dance Festival #31: Prélude Paradise and Bosch frontal.
Both works were created on the occasion of the 500th anniversary of Hieronymus Bosch’s death in 2016 and inspired by the world-famous triptych painting The Last Judgement, which is exhibited at the Gallery of the Academy of Fine Arts in Vienna. Hieronymus Bosch (1450/55–1516) is one of the most important and influential painters of the medieval era. The compelling power of his work and its actuality yearn for an artistic reaction as they reveal a variety of implications in contemporary choreographic thinking.
The performances took place at the Academy of Fine Arts in Vienna, a special location for which they were specifically devised. Each performance was designed to be preceded by an introduction to the painting.

Prélude Paradise
Choir and Movement for three voices

This musical and choreographic composition for three female performers focuses on the left inside wing of the retable, The Earthly Paradise.
With their different backgrounds of traditional polyphonic singing and contemporary choreography, Clélia Colonna and Georg Blaschke meet to initiate a first time collaboration during which they develop strategies to interpret in a performative manner the distinctive work of Hieronymus Bosch. The main parts of the choir were created during a residency in Bassano del Grappa in Italy at the church San Bonaventura. The songs are partly self-composed and were created in close collaboration with the performers and the costume designer during several stages of improvisation and movement practice.
Voice, fabric and body are the essential parameters of this performative response to the painting.

Bosch frontal

A choreographic piece for four dancers based on the analysis of the central panel – The Last Judgement and the Seven Deadly Sins – and of the right inside wing – Hell and the Prince of Hell.
The setting is embedded in a minimalistic light installation and follows a principle of reduction.
By putting aside the abundance of symbols and instruments of torture represented in the painting, bodily constellations and relations are unveiled and scrutinised. The specific texture of the costumes affects the partially improvised actions and crucially contributes to determine the dramaturgy of the performance.
The purity of physical postures as well as their spatial tendencies create a phenomenon of choreographic mirroring that frees our way of viewing the painting towards a thoroughly new interpretation.
A performative reference to Bosch’s obsession for detail and to the frontal vehemence of the painting.

This programme was designed by Thomas Rhyner and published to document the artistic process, the cast of the pieces and the biographies of the involved artists.

Watch: The Bosch Experience
Download Programme

Set to the percussive drive of one of Austria’s foremost live drummers, multipletwo addresses phenomena of simultaneity and duplicity in a choreographic and musical setting. multipletwo stimulates a series of choreographic events triggered by simple gestures that evoke a highly focused dance performance embedded in a pulsing sound and light installation.
The potential of an archetypal approach to choreographic thinking opens the space for strong emotional as well as narrative associations.
multipletwo was presented in two versions.

Listen, I am not in between the trees
See, I am a bunch of birches
Feel, I am elongated lines growing into the sky
Smell the black and white of my bark, my skin
Sense, I am regularly spread in space
Know, I am a garden, in a field, birds do settle in my charms
Wind goes through me, wind blows among my trunks

I was/am somewhere/nowhere
I was/am something/nothing/ I know/feel I am too much
I

Dutch performer and dramaturg Robert Steijn writes a poem for Austrian choreographer Georg Blaschke for a fictional performance. Georg Blaschke himself passes on an extract of that poem to dance students asking them to create a short dance solo inspired by these lines. The material of these solipsistic statements were then inter-weaved into a choreographic organism for seven dancers.
In Vienna a two-week Feldenkrais workshop introduced the students to improvisatory tasks resulting to the creation of material. In Tel Aviv a three-week process of sharing somatic experiences and qualities motivated the creation of the choreography.

The first version of a self-organized festival, produced by M. A. P. Vienna and D.ID Dance Identity Choreographic Center Burgenland presents six new works of Austrian-based and international performance and sound artists.

Location: Brick-5 Vienna
Dates: December 5–7, 2013
Program:
Michael Turinsky / Signature Series
Alessandro Sciaronni / Untitled(2)_you don’t know how lucky you are
Georg Blaschke / multipletwo
Oleg Soulimenko / Love Letters
Clélia Colonna / Yesterday’s Parties & 1:1 cowbirds

The choreography figure 5 sets urgent pictures of five bodies in different constellations of nearness and distance, as well as images of synchronicity and intimacy. Within a clearly defined stage area hedged in with the audience, figure 5 can be observed as a mobile sculpture. The particular set design acts as a visual frame for the physical actions and enables a game with spatial fragmentation within the given place that the performers never leave. figure 5 leads to the barriers of mobility and plumbs the potential of emotional loading that is tied to pure gestures in emptied spaces, themselves driven by the pulse of poly-rhythmic bass lines in the soundtrack. Georg Blaschke has been consequently developing his distinctive choreographic language over the years and has presented it in various formats of collaborations. figure 5 and figure 3 – an adaption of the work for 3 performers – interrelate this language with phenomenological considerations about sculpture and space, starting from the body in motion.

This personal work is an attempt at recollecting childhood’s memories and forgotten movement’s patterns as well as reconstructing physical relationships between the artist and his father. The bodily articulation and its recesses contextualises this inventory and refer it to their actual correspondences with space. The original material consists of found Super 8 mm silent film material and particularly the music from this era.
The visual artist Stephanie Rauch accompanies the process from the very first and executes for the performance an installation that enables the abstraction of the biographic content. The choreographic threads follow the principles of layering and un-layering within the material as the body unfolds and reveals itself in a space that could be rearranged. In the English language the term “Platform” is a synonym for the place reserved to childhood’s memories, departure and leaving behind. It also refers to the ground where one arrives at, the same ground on which to stand today in front of an audience.
As music the artist chose some original Jazz recordings from the collection of his father.

Five performers aged between 25 and 55 re-construct personal somatic memories of their own movement development and give them a clear spatial orientation. Contact and touch lead to a choreographic context that is motivated by essential physical impulses such as fear reactions, moments of falling, of being lifted, carried and embraced, moments of wanting to fly and to hide, to be alone … These components define a script of non-verbal dramatic and comic constellations amongst performers that start with simple actions but give space to unexpected and complex interpretations for the audience.

In 2010 Liz King, 62 year old dancer, choreographer and pioneer of the Austrian dance scene with an eventful history, asked Georg Blaschke to create a solo for her. Numerous conversations, interviews and the collecting of documentary material allow the biographical positioning of a personality who has experienced the whole gamut of exposure to the public as a female artist.

The public persona Liz King is juxtaposed by an intimate and sensitive private space.
Rehearsal room: the body as a memories’ storage of dance technique, lived motherhood and somatic transformation processes. Georg Blaschke remains close to this body rendering a new interpretation of articulation and spatial tendencies to consider the body as an actual and essential happening. The choreographic structure follows the logics of self-awareness as a tool of differentiation for movement and its representation in space.

“Accomplishment: to make works in the face of the void to gain form, identity.”
Jim Morrison

This trio performance creates a setting of interactions between three performers on the border of dance and installation. Clearly placed constellations of articulated bodies dissolve into space and lose stability. Contact, touch and embraces intensify and alienate the body image of the performers and open the vision to free interpretations by the public.
Improvisation and choreographic structure are based on a somatic approach towards movement research, articulation and representation of bodies in a given space mainly influenced by the Feldenkrais Method.
In case of loss was performed in a long version and a concentrate version.

This project is based on the choreography Mensch im Wahn / Man in delusion (Premiere 1929) by Andrei Jerschik (1902–1997). Andrei Jerschik was a well-known expressive Austrian Ausdruckstänzer, Choreographer, Opera Director and a committed Teacher of acrobatics and ballet. The main subject of that performance is the act of passing on and the act of reconstructing choreography. In 1995 Andrei Jerschik, already aged 94 year old, passed on directly his choreography Mensch im Wahn to Harmen Tromp. Tromp’s memories of that process as well as the vigorous and touching indications that Jerschik gave through handwritten notes formed the initial points of that project.

The piece is conceptually divided into three parts:
Original – Reconstruction – Film

Jetzt bist Du dran. was premiered at the Festival BERÜHRUNGEN. Tanz vor 1938 – Tanz von heute, curated by Andrea Amort in October 2008 at the Odeon in Vienna.

my body until now – a territory of patterns, inscribed during our movement development from infancy to the adulthood and a territory of technical skills inscribed throughout years of training to become a dancer.
The choreography is the result of a process that started with sessions of Feldenkrais training, improvisation and somatic reflection upon our body and its actual reality. Furthermore we developed new tools of partnering work that we integrated in our daily dance practice.

Between 2007 and 2011 Dutch dramaturg and performer Robert Steijn and Georg Blaschke have realised three projects together:
Are men able to dance? — in the frame of im_flieger invites WUK Wien
Dancelab The Hague — improvisation and open research
Ensemble in Gefahr! — in the frame of Performance and Cinema Sessions WUK Projektraum Vienna
The settings were sometimes more open and then eventually more choreographically structured, allowing the two friends to propose their personal dialogue about male issues like femininity, fear and silence. Their practice can be described as a ceremony of dance in the present moment within a sensual dramaturgy of poetry and surrender.

This evening, composed of three parts, offers an approach to the historical positioning of Austrian choreography by means of a lecture and two performances. It was especially designed to be presented in 2011 at Tmuna Theatre in Tel Aviv, Israel.

Questions regarding the loss as well as the heritage of choreographic thinking are evoked to connect a dance piece’s cultural context with personal elements tied to a choreographer’s life.
The acknowledgement of this heritage enables recognition and understanding towards contemporary choreographic works.

Geographic influences, forms of expression and ideologies of discipline determine greatly the development of the trained body as well as the lifetime process of self-reflection upon embodied patterns and the personal significance of a choreographer’s career’s path.

The aging body of the performer exposes itself as a memory-container of internalised techniques and choreographic wisdom is somehow set free from being always interpreted. The young dancer’s body on the other hand wants to know, to experience at any cost.

Programme:

1. Lecture: Austria’s Contemporary Dance by Dr. Andrea Amort
One main aspect of that introductory lecture concerns the question of how Austrian contemporary artists deal with the history of their artistic ancestors who have been banned or broken during the period of National Socialism.

2. Performance: Your Dancer
This solos was created in 2010 for Liz King, 63 year old dancer, choreographer and pioneer of the Austrian dance scene. It questions the body as a memories’ storage of somatic transformation processes.

3. Performance: Jetzt bist Du dran.
The main subject of this performance is the act of passing on and the act of reconstructing choreography, based on the choreography Mensch im Wahn / Man in delusion (Premiere 1929) by Andrei Jerschik (1902–1997).

Four evenings with Live Sound about masculinity in Performance and Silent Movies.

Programme:

1. ensemble in danger! — a male performance ritual by Georg Blaschke and Robert Steijn
Soundtrack & Live-Dub: Ulrich Troyer
Feldenkrais Training: Sascha Krausneker
Length: 60 minutes
Two friends meet on a 4 m × 4 m platform similar to a boxing ring to establish a male ritual based on their friendship a well as on their different approaches to stage presence. At several points along the process they meet together with sound designer Ulrich Troyer and developed a performance, which gives space equally for impulses of bodies, words and sounds within a sensual dramaturgy of poetry and surrender.

2. At John’s waterfall at the Radstätter Tauern in Winter (A, 1917) — Silent Movie
Live Sound: Florian Kmet
Length: 10 minutes
Amongst contemporary film critics this Austrian short film from 1917 is considered as a “highly interesting and magnificent take of the ascent until the glacier and the ice grotto.”
Thanks to early coloring treatments (red virages and blue tinting) this natural event still shines in brilliant colors even on screens.

3. Speak to him — A Mountain Monologue by Robert Steijn, based on a collaboration with the Theater im Bahnhof, Graz Premiere: Regionale 2010
Length: 8 minutes

4. The ascent of the Großvenediger, starting at Krimml (A, 1928) — Silent Movie
Live Sound: Florian Kmet
Length: 8 minutes
Enacted masculinity. At first the “lonesome daredevil” speeds across the idyllic villages on his motor bike, subsequently he walks on easy pace from the valley directly upwards to the peak of the mountain Großvenediger (Alps of Austria).

5. Somatic Script – preview
First version of the choreographic research 2011 by Georg Blaschke.
Research and Performance: Heide Kinzelhofer and Petr Ochvat
Soundtrack: Ulrich Troyer
Feldenkrais Training: Sascha Krausneker
One female and one male performer re-construct personal somatic memories of their own movement development and give them a clear spatial orientation. Contact and touch lead to a choreographic context that is motivated by essential physical impulses – like fear reactions, moments of falling, of being lifted, carried and embraced, moments of wanting to fly and to hide, to be alone … These components define a script of non-verbal dramatic and comic constellations.

6. Die Würghand (A, 1920) — Silent Movie and DVD-Presentation
Die Würghand – premiered successfully at the Viennale Filmfestival 2010 – is presented with the fulminant Live Soundtrack by Juergen Berlakovich and Ulrich Troyer. This session is originally part of the series “CinemaSessions” of the Filmarchiv Austria, which produced a series of DVDs including Die Würghand.
Duration: 69 minutes

Ulrich Troyer meets Georg Blaschke / Somatic Soundtracks is a successfully reviewed compilation of eight tracks which are the result of an artistic collaboration between musician Ulrich Troyer and choreographer Georg Blaschke. The songs, originally created for dance productions over a period of two years, have been especially arranged for this release. The dance takes place in your imagination.

Sound clip and Download: Ulrich Troyer meets Georg Blaschke / Somatic Soundtracks

Two men remember the central perspective. Short cinematic episodes, performed and filmed by Georg Blaschke and Daniel Zimmermann in Bytom and the Silesian Voivodeship. Songs by “sad mechanic exercise” (Daniel Zimmermann & Hari Köchli).

literary squabbels interweaves poems, songs, performance and image to a touching audiovisual poem with a gentle sense of humor.

„ … wir sind das was wir sind; von gleichem Sinn und Mut, vom Zeitgeschick geschwächt, doch stark im Will’n zu streben, suchen, sehn – und nie zu ruhn.“
Alfred Lord Tennyson: Ulysses

The process focussed on duo works, based on a laboratory that introduced the Feldenkrais Method to a contemporary dance practice. At the end we developed a choreography with the suggestions of the students.

We present the result of a two week’s process during which we have been involved in a possible “somatic” approach to states of awareness and forms of representation. How can the organisation and re-organisation of a physical structure be considered as a tool for choreographic understanding? Analyzing contacts to our selves, to partners and to the structures of space, we questioned an essence of touching as a performance practice.

In the frame of I like to move it, move it – the big school project of Linz09 Cultural Capital – Georg Blaschke and Amanda Piña worked with pupils of two schools in Upper Austria during a period of eight weeks on movement and dance. The results were shown April 30, 2009 at the Spinnerei Traun. The artists dedicated the evening to all those with openness and love for movement.

Programme:

O. T. M. – Original Trauner Moves, inspired by movement donations of people from the local area
Participants: Pupils of the Musikhauptschule Traun
Music: Supatone
Coaching: Isolde Schobesberger, Cornelia Wögerbauer
Length: 25 minutes

O. T. M. – Rap
Participants: Pupils of the Musikhauptschule Traun
Rehearsal: Isolde Schobesberger
Based on our Original Trauner Moves
Music: Felix Janosa
Length: 4 minutes

Intermission

Anda’s Dream – Performance to the film
Participants: Pupils of the BRG Linz, Hamerlingstraße
Music: The Maxwell Implosion
Coaching: Anita Döllerer, Inga Renezeder
Length: 15 minutes

Physical stories and images of installations and spaces have inspired us to develop choreographies for a performance as well as a script for the making of a film.

Anda’s Dream – Film Premiere
A film by Georg Blaschke, Amanda Piña and Daniel Zimmermann
Length: 20 minutes

This work fosters a specific investigation of the relationship between the body and the limits of a given space. The effect of gravity provokes a certain directness of movement and a specific timing that defines a reduced choreographic composition. This composition is based upon personal statements of the students they created for themselves in different spaces of the house.

In his successful solo work body. building. places. Georg Blaschke created a particular body-language that is extended here to a trio version. Three bodies penetrate in forms of body-crashes, construct and deconstruct particular moving sculptures which gradually dissolve themselves into the open space. Gravity, space and stillness are the basic elements that design a reduced choreographic composition evolving out of personal statements. Questioning the presence of the performer in this context, the choreographer attempts to detach from the pure work on the performers through commenting and supervising the body building sites that surround them with a subtle irony.

in that solo performance i define my body as a building site, a body under construction and deconstruction work. some deeply experienced passages through megacity-environments are inscribed as memories in my body who now exposes himself to simulate, analyse and transform them with a silent sense of humour and within clear defined physical and space-territories into a personal body-building-landscape. permanently that body changes, shifts between the building sites, testing his raw materials, publishes results, crosses interfaces between organs, bones, skin, fabric and space and therefore experiences a continuous manufacturing process. will it be possible at the end to add a new construction work to it, a new body-building or will the site be left as a white empty space screen for other material projections?

“each something is a celebration of the nothing that supports it.”
john cage

This project is inspired by images of the film “Pierrot le fou” (Jean-Luc Godard, 1965) in which he tells us his story of the “last romantic couple” … The eternal theme of man & woman: love – and how to live it – is analysed, constructed and deconstructed in this brilliant film by means of provoking dialogues, expressions of existential lifestyle, and by an extraordinary rhythm of cutting and self-reflections. The performance intends to integrate these different formal proposals of developing a geometry of love in form of a passage through 12 architectures of space, image and physical expression.

Action Poems I–III about Pier Paolo Pasolini
Schlafen ohne Ort
Kafka – The metamorphosis. Danced.
Viecher
space dervish
SiriusSteps
Mycenae: A Dance Poem.
Choreos – A Dance Odyssey
59, 58 angels at my gate – rent an angel
Fingerdisco with Pauline – rent an angel
Günter Marinelli meets Georg Blaschke – a dialogue on two swings
Lehmanns Adressen – Mis-Guide – Stadtverführungen in Wien
MindMapping 1020 / pathways of memory and today