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The house of the Pelvic floor- a ballet (working title)




In research residency 2024:

1-6 july @ Vitlycke CPA

 

The third and final part of the18 steps through (dance) history- choreographic trilogy initiated by Liza Penkova in 2020.

Continuing to delve into the history and archives of Western dance practices  has led to an observation that the pelvic region is almost never an initiator of movement. With the exception of early modern dance pioneers who advocated an engagement of the pelvis in their technique, looking at the history , it is striking to notice how the pelvic area plays a crucial role as a point of stability in Western dance. Often referred to as “the centre,” “the core,” or “the box,” it is considered something to be held and controlled. This observation raises questions about the avoidance of engaging with the bodily processes associated with this region in Western culture. Could it be a question of the good old dichotomy between Apollo and Dyonisus? And perhaps we need to trace back to the formation of classical ballet-aesthetics to find out?


The Gap (2023)

18 Steps through (dance) history PART II

2024

29 august@Tanzmesse Düsseldorf-Swedish dance experience

 

2023

December 8,9 RE-PREMIER  @Atalante, Göteborg

September 2 @ Vitlycke CPA , Tannumshede

March 25-26 @ Konstkollektivet, Mölndal

2022

November 10,11,12 @ 3Våningen, Göteborg

When Liza Penkova came to Sweden from Russia in the 1990s as a teenager, it took her some time to understand the new Western reality. Much was similar, but even more unfamiliar. Then, as a classically trained dance student, she was also introduced to Western contemporary dance, which later became the basis of her long international career as a dancer with established choreographers in Belgium and Sweden.

Thirty years later, in her first solo-work as a choreographer, THE GAP, she draws a parallel between the move to the West and the transition to the contemporary dance aesthetic. She tries to make visible a sense of constant delay. A kind of temporal gap that she needed to fill in order to catch up with Western freedom. Alternating between silence, music, voices from dance icons and her own reflections on norms and values between East and West, the audience is drawn into an hour-long dance solo with elements of melodrama and humor.

credits:

choreography/text/dance: Liza Penkova

dramaturgy : Armin Kerber

sound: Per-Henrik Mäepää

lightdesign: Nelson Lima

costume: Anne-Catherine Kunz

co-production: Vitlycke Center for Performing Arts

production/admin: Producentbyrån

 
 
 

 

With support from

reserach/creation residencies 2020-2022 :

 3våningen, Göteborg

Konstkollektivet, Mölndal

Vitlycke Center for Performing Arts, Tanum

Le Boson, Brussels

DCväst, Göteborg

Spinn studio, Göteborg

MDT, Stockholm

Hallen, Farsta

Stora Teatern, Göteborg

My body is a room filled with antiques... (2021)

In the first part – My body is a room filled with antiques and some late minimalism – the dancer Liza Penkova starts from herself. In the form of an uninterrupted walk, a gradual transformation takes place as Penkova embarks on an impromptu movement dialogue between past and present canonizations, techniques and norms that she experiences have transformed her body into a room filled with antiques and some late minimalism. The goal is to refurnish, update and recycle. Find links, bridges, entrances and exits that can allow other values, expressions to enter. We need the past to reflect on what has come before us and to thereby understand where we are going.

Performance:

  • 10-11-12 december 2020 @ 3e Våningen (cancelled)
  • 19-20 mars 2021 (cancelled )
 
 

Short film by Pauline Fonsny:

  • coming up 2021
  •  

Working periods:

    • Le Boson, Bruxelles
    • 3e Våningen, Göteborg
    • MDT, Stockholm
    • Danscentrum Väst
    • Farsta/Hallen, Stockholm
 
 Supported by:
  • Göteborgs Stad Kulturnämnd
  • Konstnärsnämnden

Funambulist (2020)