Performance
/ Choreography / Concept: Maren Strack
Video / Installation / Concept: Hiroko Tanahashi
Dramaturgy / Co-Director / Concept: Max Schumacher
Voices: Ulrike Lau, Andreas Wald
Foley Artist / Sound Design: Max Bauer
Costume Design: Mikyong Yeom, Sarah Pontius
Wind Machine Construction: Peter Buchheit
Funded by:
The cultural department of the city of Munich, Bavarian Center
for
Choreography
PACT Zollverein Essen
a
multi-media performance about female pilots and the wind:
Beau Fort 10 is a multi-media performance in which Maren Strack
reflects the dream of flying. In original and stunning ways her
body merges with balloons, wings and propellers. All of these flying
devices become projection screens for Hiroko Tanahashi's beautiful
video images of sky diving. Inspired by the biographies of Amelia
Earhart, a heroin of aviation in the 20s and 30s in the US, Max
Schumacher's narrative takes the audience to long-distance flights
around the world. Did these famous female pilots fly for fame -
or did they need stardom to follow their addiction to the wind?
Maren Strack and post theater have found various ways to translate
achievements of aviation technology to performance techniques on
stage. Strack performs inside of a huge balloon | where she interacts
with her real and a projected shadow that shows her turning into
a propeller machine. The performer then moves with long sleeve-jets
in a circle, translating the idea of air compression. The central
stage object is a wind machine. Strack carries it, drives with it,
and eventually flies withit through the performance space. Various
balloons and other objects are filled with the air blown by the
windmachine-propeller.
"Beau Fort 10g explains the ambivalent relationship between
wind and flying. Moderate winds were the force moved balloons |
whereas the early propeller machines could only fly without any
wind what so ever.
The piece does not so much present the beauty of flying but the
beauty of the dream of flying. The media by Hiroko Tanahashi makes
the live performer Maren Strack disappear and re-appear as a projected
| performer. Tanahashi's video work blends live and pre-produced
video projections and integratesdimensional objects as projections
screens. Maren Strackfs movements and dance are both live and on
video. Often enough,different realities overlap. Is the video following
the performer or the other way round?
*"Beau Fort 10" is the third part of "6-8-10",
a trilogy about trafic, technology and female pioneers.