Nelisiwe Xaba
We would never say it, but behind her outward appearance there lies a 37 year-old woman who dared to put herself on the line by staging the female condition in contemporary dance. And just by looking at the simplicity of her shows we would never guess that within her movements she weaves one of the most audacious discourses that we, in Europe, still dealing with our post-colonial guilt, have the privilege to see. Nelisiwe Xaba worked with Robyn Orlin and is part of the new generation of South African dance.
Her shows deal with the rhetoric of multiculturalism, the fakeness of expectation, the fact that being a black woman from South Africa bears a weight she didn’t ask to carry. But she does.
And she is able to show us that we cannot talk about the condition of being “another”, “a stranger,” because we are so full of ourselves that we give no space for “the other” to feel comfortable. Pieces such as “Plasticization” or “They Look at Me and That’s All They Think” are a real punch in the stomach and not as metaphorically as the ones we are used to. Especially because they come unnoticed, from the simplicity of the combination of different elements she uses as if it were nothing. ...
Weiterlesen mit dem digitalen Monats-Abo
Sie sind bereits Abonnent von tanz? Loggen Sie sich hier ein
- Alle tanz-Artikel online lesen
- Zugang zum ePaper
- Lesegenuss auf allen Endgeräten
- Zugang zum Onlinearchiv von tanz
Sie können alle Vorteile des Abos
sofort nutzen
Dance is movement of the human body in time and space. With the two, time and space, I find the first to be more flexible. We can divide time in a freer way, in a more varied and complex way, and still make clear what is being done, while with space we can certainly be complex within the prescribed area, but it can look, not so much complex, as confusing.
The...
Theatre is a filthy art. an art infected by life. borne by actors who cannot escape their human form, their weight, the span of their limbs, their genitals. We watch a body as it sweats, exudes its aura, attracts or repels us. Theatre is a carnivorous medium, feeding on bodies. Bodies out of control. Bodies oblivious to rules, naïvely arousing their own lust....
Werner Herzog erzählt in seinem Dokumentarfilm «Mein liebster Feind» über Klaus Kinski von seiner ersten Begegnung mit dem Schauspieler. Sie legte die Lunte für eine Hassliebe, bis dass der Tod Kinskis 1991 sie schied. Herzog rekapituliert die Szene, die in ihm lange Zeit den stärksten Eindruck hinterließ: Es war das gleichzeitig unschuldige wie ungläubige Erwachen...
