The so-called warehouse dance is legendary, as dance rebel Kevin Bacon (or his body double) sprints, jumps, flies through a huge old industrial hall in the film “Footloose” and shows the small town bourgeois and the entire religious right: dancing is cool. In the mid-eighties, the boys in this country, who were terribly awkward at the dance school foxtrot, also came under a lot of pressure. In the German Theater you can now be transported back to this dance-loving era, in which films like “Flashdance” and “Fame” also boomed. “Footloose – The Musical returns German theater back in Munich (March 12th to 17th).
Compagnie Wanted Posse from France has its roots in underground shows and battles. Today the free style hip-hoppers create highly professional choreographies.
(Photo: Yuri Sory)
In March, the Deutsches Theater will also pay homage to another dance culture phenomenon that became increasingly popular in the 80s: freestyle hip-hop. The company Wanted Posse from France, multiple hip-hop world champion, connects in their show “Dance N’ Speak Easy” – who doesn’t immediately think of a sultry Prohibition bar – the moves of breakdance with the swing dances of the 1920s and 1930s (March 20th to 24th). In general, the Deutsches Theater should be on your agenda as a Munich dance venue in the future. Managing director Thomas Linsmayer would like to give this division more space.
The dance category, what is it anyway? At the Gärtnerplatztheater For example, ballet director Karl Alfred Schreiner delivers a new interpretation of the ballet classic “Giselle“, which is almost as old as pointe dance itself (Paris premiere in 1841). The State Ballet company’s project allows us to take a look into its engine room “Minute made“, the idea is a dance soap based on the principle “to be continued”https://www.sueddeutsche.de/muenchen/.”One room. One week. 20 dancers.” Each time, a new person takes over the baton and, within just seven days of rehearsal time, choreographs a new piece that picks up exactly where the last episode left off. So you should stick with it. It starts on March 14th at 8 p.m Work 7 Theater ( Speicherstrasse 22 in the Werksviertel), it continues there at the same time on March 21st and 28th.
The game, the experimentation, is something that choreographer Alexander Wenzlik also gets involved with again and again. In his work “Dionyzoe” he interweaves central principles of Japanese Butoh with elements from contemporary dance, film, stage design, masks and costumes. But Butoh itself is a hybrid. Developed in the 1950s as a protest against westernization and the conventions of Japanese culture, this dance practice was absorbed all kinds of movement languages, cited archaic elements, but also the expressive dance of the 1920s by Mary Wigman. Nudity plays a role, and it is not uncommon for the dancers’ bodies to be powdered chalky white. Zoé means “life” in ancient Greek, Wenzlik amalgamates this with Dionysus, the god of Fertility and ecstasy: an announcement for the two evenings Heavy riders on March 15th and 16th (8 p.m. each day).
The ensemble of the Bavarian State Ballet with the irresistible choreography “Butterfly”.
(Photo: Carlos Quezada)
Before the ballet week begins with premieres, guest performances and pieces from the current season from April 12th to 20th, this shows Bavarian State Ballet In March, the highlight of last year’s dance festival was once again: the double evening by the choreographers Sol León and Paul Lightfoot “Silent Screen” and “butterfly“an experimental masterpiece in which silent film, mime and dance combine to create something irresistibly beautiful.