In the second part of the three-part cycle GE-FÜHL-LOS different artistic views on emotions and their representation are meeting each other. Five artists and four performers devote themselves to the emotions of shame, humility, boredom, vanity, guilt, envy and lust.
+ – develops aural, physical and verbal emotional worlds, which are brought together in a deliberately heterogeneous held stage experience. These staged parallel worlds of intimacy are meeting and dissociating from each other. It creates a kind of experimental arrangement for the audience empathy.
Nominated for the Kölner Tanztheaterpreis 2013.
Artistic direction: Barbara Fuchs // Performance: Odile Foehl, Regina Rossi, Ursula Nill, Pietro Micci // Music/Sound: Jörg Ritzenhoff // Text: Charlotte Fechner // Stage design: Gonzalo Barahona // Light design: Horst Mühlberger // Technic: Wolfgang Pütz // Speaker: Stefan Kraft // Photos: MEYER ORIGINALS // Management: mechtild tellmann kulturmanagement
A Production of tanzfuchs PRODUKTION/Barbara Fuchs
Kulturamt der Stadt Köln, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, Fonds Darstellende Künste, Kunststiftung NRW
Coproduced by Barnes Crossing – Freiraum für TanzPerformanceKunst
Thomas Linden, Kölnische Rundschau, October 2013
Eroticism and cool distance Premiere of unusual dance production by Barbara Fuchs
The stage set with its black and white cyclical formations reminds of an abstract representation of the brain, and a dissection is performed indeed, not with a scalpel though, but with verbal turnarounds digging deep into the research fields of neurologists. (…)
Klaus Keil, aKT – Die Theaterzeitung Köln – November 2013
Self-exposure aKT production of the month
With her production ”PlusMinus“ the choreographer Barbara Fuchs takes an exceptional approach to emotions and moods challenging the specators’ capability for empathy. (…) The stage is split up into two halves. On it frayed circles in black/white/black so one has to think – not by accident – of yin and yang as if these already connote the ambivalences of feelings. (…)