-
![[8:tension] at ImPulsTanz Vienna 2018](data:image/gif;base64,R0lGODdhAQABAPAAAMPDwwAAACwAAAAAAQABAAACAkQBADs=)
[8:tension] at ImPulsTanz Vienna 2018
Don’t expect the new to be comfortable: the [8:tension] platform for new choreography is provocative, plural, sometimes tedious – and often out of the comfort zone
-
Jo Bannon: We Are F*cked
Doubt and disturbance come to a climax in Jo Bannon’s powerfully penetrating performance
-
Beyond borders: Amit Lahav and Gecko
Gecko’s Amit Lahav talks to Daniel Pitt about straddling genres, insularity and internationalism in British theatre – and being pummelled with love
-
Dirty Dancing
Alexandra Gray on her first time watching Dirty Dancing – and why Baby’s first time on the dancefloor stays with her
-
Taneli Törmä: COVER – A symphonic poem in three movements
A merger of choreography and sound installation, Finnish artist Taneli Törmä’s COVER sensitively explores the kinaesthetic experience of sound.
-
Rocío Molina: Grito Pelao
They say that Mother knows best, but does she know how to turn that into a performance?
-
Danse Élargie 2018: big opportunities, bigger ambition
Beatboxing, b-boys, a beach and a balloon enlarge our concept of ‘dance’ in the fifth edition of the multi-disciplinary choreographic competition
-
Potsdamer Tanztage, or: 3 × 3 = 8
When does 3 × 3 = 8? When our three reviewers go to three performances each at Berlin’s 2018 Potsdamer Tanztage festival
-
Bausch rebooted: Veza Fernández’s Wenn Auge Mund Wird
Vienna-based Veza Fernández refracts Bauschian Tanztheater through a contemporary prism
-
Pietro Marullo’s WRECK: survival of the fittest in the age of austerity?
Pietro Marullo’s ‘elastic performance’ is a staging of the struggle to survive in a precarious environment – and an example of it.
-
Oona Doherty: Hope Hunt and the Ascension into Lazarus
A riveting portrait of the disadvantaged white male that meshes beauty with damnation
-
Katerina Andreou: BSTRD
Can a solo dance piece create, on stage, that much needed room of one’s own?
-
Timothy and the Things: Hunting (Vadászat)
Three men hunting – but for what, for whom, and why? Anna Dohy looks to the wider stage for answers
-
The naked stage of Sanna Kekäläinen
Riikka Laakso on Finnish choreographer Sanna Kekäläinen, and the subversions and inversions of her 2017 piece Whorescope
-
Ligia Lewis: Minor Matter
Black matters in Minor Matter, a powerful encounter with the myriad concepts of blackness
-
Mònica Pagès watches Likes by Nùria Guiu
Classical music journalist Mònica Pagès sees a solo about the value of ‘likes’ in an age of social media. How was it for her?
-
Christos Papadopoulos’s Opus: in search of the dialectics of music and movement
A textual exploration of a performative exploration in sound, meaning and time
-
Mette Ingvartsen: 21 pornographies
Assuming the position is at the heart of this physical exploration of erotica
-
Jasna Vinovrški: Lady Justice
With witnesses, evidence and judgement – is a dance performance a bit of a trial?
Choose language
The original English text is the only definitive and citable source
Springback Magazine is authored by writers who have completed Springback Academy.
-
[8:tension] at ImPulsTanz Vienna 2018
Don’t expect the new to be comfortable: the [8:tension] platform for new choreography is provocative, plural, sometimes tedious – and often out of the comfort zone
-
Jo Bannon: We Are F*cked
Doubt and disturbance come to a climax in Jo Bannon’s powerfully penetrating performance
-
Beyond borders: Amit Lahav and Gecko
Gecko’s Amit Lahav talks to Daniel Pitt about straddling genres, insularity and internationalism in British theatre – and being pummelled with love
-
Dirty Dancing
Alexandra Gray on her first time watching Dirty Dancing – and why Baby’s first time on the dancefloor stays with her
-
Taneli Törmä: COVER – A symphonic poem in three movements
A merger of choreography and sound installation, Finnish artist Taneli Törmä’s COVER sensitively explores the kinaesthetic experience of sound.
-
Rocío Molina: Grito Pelao
They say that Mother knows best, but does she know how to turn that into a performance?
-
Danse Élargie 2018: big opportunities, bigger ambition
Beatboxing, b-boys, a beach and a balloon enlarge our concept of ‘dance’ in the fifth edition of the multi-disciplinary choreographic competition
-
Potsdamer Tanztage, or: 3 × 3 = 8
When does 3 × 3 = 8? When our three reviewers go to three performances each at Berlin’s 2018 Potsdamer Tanztage festival
-
Bausch rebooted: Veza Fernández’s Wenn Auge Mund Wird
Vienna-based Veza Fernández refracts Bauschian Tanztheater through a contemporary prism
-
Pietro Marullo’s WRECK: survival of the fittest in the age of austerity?
Pietro Marullo’s ‘elastic performance’ is a staging of the struggle to survive in a precarious environment – and an example of it.
-
Oona Doherty: Hope Hunt and the Ascension into Lazarus
A riveting portrait of the disadvantaged white male that meshes beauty with damnation
-
Katerina Andreou: BSTRD
Can a solo dance piece create, on stage, that much needed room of one’s own?
-
Timothy and the Things: Hunting (Vadászat)
Three men hunting – but for what, for whom, and why? Anna Dohy looks to the wider stage for answers
-
The naked stage of Sanna Kekäläinen
Riikka Laakso on Finnish choreographer Sanna Kekäläinen, and the subversions and inversions of her 2017 piece Whorescope
-
Ligia Lewis: Minor Matter
Black matters in Minor Matter, a powerful encounter with the myriad concepts of blackness
-
Mònica Pagès watches Likes by Nùria Guiu
Classical music journalist Mònica Pagès sees a solo about the value of ‘likes’ in an age of social media. How was it for her?
-
Christos Papadopoulos’s Opus: in search of the dialectics of music and movement
A textual exploration of a performative exploration in sound, meaning and time
-
Mette Ingvartsen: 21 pornographies
Assuming the position is at the heart of this physical exploration of erotica
-
Jasna Vinovrški: Lady Justice
With witnesses, evidence and judgement – is a dance performance a bit of a trial?
![[8:tension] at ImPulsTanz Vienna 2018](https://springback.org/wp-content/uploads/2018/09/alexbaczynski_jenkins_usswerver_c_palaisdetokyo_atelierdiptik_01_darker.jpg)
The European Commission support for the production of this publication does not constitute an endorsement of the contents, which reflect the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
Front page video compiled from original films by Enya Belak and Alfredo Miralles. Site design: Sanjoy Roy
© 2018–2026 Aerowaves Europe. Company No. 550454. Registered in the Republic of Ireland. All rights reserved.