“Hoghe moves with economy and care, gently yet fiercely; every motion is pristine, inundated with dramatic import. Ueno is supple, mild, in a position to leap with abandon one minute and also to explain delicate habits with his arms the second.” – the newest Yorker
Raimund Hoghe is undoubtedly one of several pioneers of party dramaturgy so that as an artist, is really a real vanguard of contemporary party in European countries, challenging traditional notions associated with the human body and beauty in party and culture through works that are “concentrated exams of humanity”. Their decade-long partnership with Pina Bausch is normally referenced being a crucial collaboration between a choreographer and a party dramaturg, and something which had an important effect on dance-making today.
For Hoghe, going onstage is trying out film manufacturer Pasolini’s terms to “throw the physical human body to the fight”. Revealing and doing along with his very very own frame that is unusual Hoghe masterfully disrupts our problematic criteria of human anatomy excellence that he thinks equate people towards the status of design things. Beyond this declaration of presence, the systems in their work aren’t just real and individual, but unfold to become complex areas that reflect on history and tradition.
In Pas de Deux, Hoghe is joined onstage by one of is own regular collaborators, the Japanese dancer Takashi Ueno. [···]