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117 “blitz!” Premiere 08.05.1962, Adelphi Theatre, London Licence and Managing Director: Donald Albery Music, Lyrics and Direction by Lionel Bart Book by Lionel Bart & Joan Maitland Associate Director: Eleanor Fazan Orchestration by Bob Sharples Production designed by Sean Kenny Costumes designed by Bernard Sarron Lighting and Projections by Richard Pilbrow Choreography by Teddy Green Production Manager: Ian Albery General Manager : Anne Jenkins Stage Manager : George Rowbottom Orchestra Conducted by Marcus Dods “Let us rebel, break down, invent and

, . . , . ! . , , . . , . . , , . . , . . . - . . , . . , , . . , . . . , , ( , ) . , 82 THOUGHT OUT Similarly, sweeping the floor of a studio to get in the mood for painting can itself be considered invisible painting. Artist Jan Kolata calls this air-painting and describes an experience of seeing this in China: “On a large paved square in Wuhan an old man holding a bucket of water and long paintbrush painted, in full-body, almost dance-like movements, a character larger than his own body onto the pavement. The form and extent of the character determined the almost choreographic-seeming trace, a character that lay in eye-catching black on

99 HI-TECH-INNOVATION IN DER SZENOGRAFIE DER 1960er UND 1970er JAHRE “Oliver!” Premiere 30.06.1960, New Theatre London Licence and Managing Director: Donald Albery Book, Music and Lyrics by Lionel Bart Directed by Peter Coe Designed by Sean Kenny Orchestrations by Eric Rogers Lighting by John Wyckham Musical Director: Ronnie Franklin, Marcus Dods Choreography: Malcom Clare Production Manager: Ian Albery „The first objective has been to make a machine do what normally would have to be done by men.“ 1 “May the

139 “Clownaround” Premiere 27.04.1972, Oakland Coliseum, Oakland (USA) Produced by Theatre Now, Inc. New York Dircted by Gene Kelly Conceived and written by Alvin Cooperman Lyrics by Alvin Cooperman Music by Moose Charlap Choreography by Howard Jeffrey Orchestrations by Jack Eliott, Allyn Ferguson Musical Director Boris Kogan Entire production designed by Sean Kenny Production Stage Manager Joe Calvan “As architecture tends toward the ephemeral, the temporary, and the kinetic it is read more as entertainment and advertisment. As buildings become events

continuous level’, he says. ‘They are no longer content to sit through obviously devised sequences before a drop curtain while hordes of people rush about building a new set behind it. This devise is so thoroughly old-fashioned that it is unforgivable.’ ‘Choreography’ is Mr. Kenny´s word for the movement of the trucks, which form the basis of set for ‘Blitz!’ for the shifting of the sets is, in this case part of the visual action of the play. ‘This form of scenery has never been used on any stage before’, Sean Kenny said. ‘It is bound to have an influence on the

153 „Der Ring des Nibelungen“ Royal Opera House Covent Garden, London 1974 -76 „Das Rheingold“ (Premiere 30.09.1974) „Die Walküre“ (Premiere 01.10.1974) „Siegfried“ (Premiere 17.09. 1975) „Die Götterdämmerung“ (Premiere 16.09.1976) Produced by Covent Garden, London Music and Word by Richard Wagner Conductor Colin Davis Producer Götz Friedrich Settings designed by Josef Svoboda Costumes designed by Ingrid Rosell Lighting by William Bundy Choreographic Movement by Eleanor Fazan „I want to have a kinetic space, where movements becomes law, a stage

grounds of the cruise missile station in Hunsrick/Rheinland Palatinate that was abandoned in 1990. Facchini always backed the creativity of his team and allowed the dancers to test out their own choreography. There in the remnants of the Cold War, in the former rocket bunkers, on the train- ing grounds and in the large hangers, whose grey-green blandness had a spooky effect, they did so. One morning, he instructed two male dancers to dance as if they were repeatedly shaping a single sculpture from their two bodies, as if they were in a time loop. The evening

all of us; we only need to allow it to unfold, and of course our surroundings must also allow this. We’re working on it! THOUGHT OUT 93WHAT IS THE OPPOSITE OF FROG? 94 ARTISTIC WORK 7 A combination of dance theatre, installation and video Opening event for the Third Dortmunder Forschungstage at the Harenberg City Center, Dortmund, January 1999 Concept and choreography: Ursula Bertram A cooperation between the University of Dortmund and the University of Iowa/USA, with Carlos Matos and Sabrina Sifrig, Theater Dortmund, dance; Ursula Steffens, costumes; Andre

composition. And indeed: Mary loved Ra! A combination of dance, theatre, installation and video Opening event for the First Dortmunder Forschungstage at the Harenberg City Center, Dortmund, January 1995 A combination of dance, theatre, installation and video Opening event for the First Dortmunder Forschungstage at the Haren- berg City Center, Dortmund, January 1995 Concept and installation: Ursula Bertram, Dortmund Choreography and dance: O.S.M. Tanztheater, Wiesbaden Music and composition: Robert Merdzo, München Accompanied by Bodo Harenberg and Dietrich Groh 2 dancers