Ida Mahin put her first pair of ballet shoes on when she was 6 years old. Since then, life without dance has been unthinkable in her sight. Preferring to think out of the box, she studied and studies diverse dance genres.
Her choreographies’ artistic focus lies in experimental fusions, the awakening of characters, storytelling and the mediation of truthful emotions. Both solo and with her dance company, she brings cyber Medusas, Asian warriors and sometimes even singing foxes to life on stage.
Recently, you can watch her performances in the American DVD production "Visions – A Night of Dark & Theatrical Belly Dance".
At all times people have been spellbound by monsters. The reactions they evoke range from fear and disgust to maternal feelings. Inspired by various representatives of the genus monstrum dramaticum, we clatter, rage and slither all over the stage! Let's make The Army of Darkness look like kindergarten! Diabolical allusions, werewolf-like courage, succubish extravagance and the conscious use of mimic art, gestures and posture make a monstrous impression.
Fresh underpanties for the audience, please!
We create Penny Dreadful – The Dancical!
In the pioneering days of the silver screen an actor's performance had a lot in common with a dancer's performance. When the great dancer Vaslav Nijinsky visited Charlie Chaplin on a film set in 1916, he stated: "Your comedy is balletique. You are a dancer."
Almost wordless yet always interpreting music, silent movies created audiovisual narratives and iconic, multi-dimensional characters that still evoke strong feelings. Which methods may we borrow in order to inspire our very own creative process? How do we benefit from the fact that, like most of the movie pioneers, we are dramaturge, director and make-up artist at the same time?
How can we transfer early cinematographic techniques to the stage? How do we create context without spoken word or even intertitles? Come to the monochrome metropolis and find out!