Electricity and dance have a common history. The legendary American dancer Loie Fuller was the incarnation of the fascination with electricity in the late 19th century. The new form of energy had been charged as a feminine phenomenon. Clarity, purity etc. were values attributed both to the female role model and the new energy source. In re:current the cultural idea of electricity will be re-examined.
The site becomes a performer that interacts with the dancer and the video. Essentially, it is electric energy that allows this conversation between architecture, video and dance. Electricity is on both levels – form and content.
Has the building ever been electrocuted by itself? Has the energy created in this building worn out the building, or energised it? Does the building miss the current running through its body? Thousands of watts of energy have been generated within this building and have been sent away to disappear as a force in a factory far away or to light a city somewhere else. Can we still feel the left-over current? Be silent, stay quiet, and try to feel re:current. (Hiroko Tanahashi)
post theater (New York/Berlin) is a team of artists and academics of various backgrounds who continuously switch roles and responsibilities. Theatre performances may be the main product generated by this network, yet other forms of artistic expressions (installations, exhibitions, concerts) are equally important. Whenever post theater is on tour, its productions are remixed for the new contexts, venues, and occasions. post theater's re-occurring themes are identity and technology. To what degree does technology act as a protagonist, and to what degree do performers resemble machines? Do ethnic or academic identities really 'mix' when they meet? (post theater)
