Ingo Reulecke: “Playful Contemporary Dance Technique into Performance”

We will start with a focus on training, (primarily drawing on principles from Susan Klein Method and the Alexander Technique) to work towards creating an awakened body which is holistically available for movements in all possible dimensions. With this basis we will experience space in all its different dimensions, and time in all its different dynamics.

We will work with a combination of both improvisation exercises and fixed movement phrases. Along the process we will integrate CI-related partner work, as well as simple choreographic and performance ideas.

Playing with these guidelines will generate a greater clarity in space and time. All this will enrich solo performance making it more pleasureable and will create a wealth of nuances when improvising with a partner or a bigger group. From that standpoint we will then go into more performative tasks focussing on the idea of seeing and being seen.

Ingo Reulecke

After a contemporary dance and choreography education I worked as a dancer in pieces that I created and performed in projects with different choreographers. I also created many solos and group dance productions by myself.

While I was working with set material I started to become more interested in the field of improvisation. For me improvisation is a more creative and vivid way of expression, as it involves being in the moment.

With my opening towards 'real time composition' I found more possibilities and interests within me. Well known boundaries seemed to vanish or at least move further away. For example, a wide range of diverse performance spaces/venues besides theatres and black boxes started to open up. Even  outdoor spaces became a possibility, which was particularly interesting considering that dance happens mostly indoors in the western world. Furthermore, there is the direct reaction towards a space or many other kinds of stimuli which generate site-specific compositions.

Instant composition seems to me a real metaphor of life. Freeing up diverse ways of moving in all kinds of directions enabled me to find my own movement language/vocabulary more and more. But also other forms of expression like talking and even making sounds became available.

In this kind of creative experience, age or other obstacles and issues become completely irrelevant. The exchange and work in rehearsals, jams or performances with artists of all sorts seems to me an incredibly rich creative process. Last but not least, as an audience member, it is absolutely fascinating for me how experienced performers are able to create moment to moment.