Photo by Natali Glišić
info
solowork as part of the piece "Glückselig. War gestern, oder? Eine Aneignung" by Lebendiges Tanzarchiv Wien, initiated by Andrea Amort, with pieces by Lea Karnutsch, Rebekka Pichler, Eva-Maria Schaller, Katharina Senk
Music by Ferdinand Doblhammer
shown at
brut nordwest
This work is the result of an intense research period about the austrian dancer Grete Wiesenthal an her heritage. She got famous for her own technique and her solo interpretation of the Viennese Waltz.
Tearing open the wound again and examining it anew, feeling its abysses and sinking into its deep canyons, sensing a feeling for the anatomy of times long past. The examination of Grete Wiesenthal's vocabulary of movement reveals itself in „process of a braced wound healing“ in the form of an old wound, torn open again by Lea's research. Stretched widely between Wiesenthals famous „Swings, Turns and Tilts“ its trying to grow back together „properly“. The dark, shattering and brutally honest sounds of Ferdinand Doblhammer's music provide the appropriate atmosphere to surrender to this process completely and to become submerged in it.
Photo by Natali Glišić
Photo by Natali Glišić
As part of the project, Lea and her colleagues had the honour of learning the choreography "Wein, Weib und Gesang" from 1922, which has been passed down through generations of dancers. The piece is about a young woman and her impressions at her first ball. It was rehearsed by the former First Solo Dancer of the Vienna State Ballet Susanne Kirnbauer.
Choreography
warp-speed minnesangmultidisziplinary Performance
Decoding it the hard waymultidisziplinary Performance
according to gravity's lawsolowork featured on the Choreographic Platform Austria
Bitmapcollaboration with Liz King
Vacuitysolowork awarded by the "Austrian Art Award 2019"