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Raimund Hoghe – ‘Bolero Variations’

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On September 18th and 19th  the Walker kicks off its performing arts season with something special: the opportunity to experience a direct line to the origins of Tanztheater (Dance Theater) in choreographer Raimund Hoghe. A few things that peak my interest in Bolero Variations: Hoghe was Pina Bausch‘s dramaturge in the 1980′s when she became [...]

On September 18th and 19th  the Walker kicks off its performing arts season with something special: the opportunity to experience a direct line to the origins of Tanztheater (Dance Theater) in choreographer Raimund Hoghe.

A few things that peak my interest in Bolero Variations:

  • Hoghe was Pina Bausch‘s dramaturge in the 1980′s when she became arguably the most influencial choreographer in Europe, maybe the world.
  • Dramaturgy is at the heart of his choreography.  He says he finishes dramaturgy then rehearses once or twice before performing. (The closest local comparison might be MadKingThomas).  What is dance dramaturgy?
  • Hoghe’s irregular dance body (hump and rickets) AND this quote “His intelligence is more disturbing than his ugliness.” - Tiago Costa.
  • Hoghe’s work is entertaining for a three year old.
  • His dancers are also: a jock, not at all a jock, a martial artist, and a doctor.
  • Finally, in everything I have read Hoghe appears appreciative, inquisitive, and humble.

Also, this work in the McGuire seems perfect: a very formal space where the audience can get close to the performers.  Personally I’ll be in the front row trying to get on top of a work described as minimalist, ritualized, expressive, precise, intelligent, fascinating, repulsive, boring, inspiring and always extraordinarily dramaturged.

Check out these Hoghe links:

An Interview

Some Background

His Site

  • michael white says:
    September 19, 2009 at 2:15 pm

    I attended the friday night performance and came away with a curious feeling of detachment. It is as if the performance was all about the private experience of the performers, which we were allowed to watch, but not participate in. It brought to mind the separation between the priests celebrating mass and the congregation of unwashed peasants watching through the rood screen in medieval churches. We were there, but not as audience – just observers. After about 45 minutes I was exahusted by trying to extract or invent meaning since it was all one-sided.

    Unusual for me – I come with the expectation of doing my part as audience, but my expectation is that whoever or whatever is on stage will be working towards a common experience.

  • sally Rousse says:
    September 20, 2009 at 12:40 am

    But what did you see? I think there’s no need to invent meaning. You are not alone (michael white) — audiences consistently feel they often must do the work of inventing or supplying meaning, where none seems easily available. I, myself, have come to simply be in charge of my own experience and report to myself what I am seeing, what I have seen.
    To be in the presence of someone so close to (the late) Pina Bausch — as well as a person so clearly intelligent, humble, humorous, and dear– was compelling. But I had many drowsy moments.

  • Jeff Beddow says:
    September 24, 2009 at 2:14 pm

    My comments on the show are at http://zeitguy.blogspot.com

  • Catherine Willmore says:
    October 20, 2009 at 3:41 pm

    I have not seen Raimund’s work live, but attended a talk he gave last year which was illustrated with video clips of his live work. I admit I was left baffled. I am studying dramaturgy, playwriting and performance at masters level, and have a degree in dance theatre, as well as 20 years experience as a choreographer, producer and writer in contemporary dance. I felt very unsure as to where his ideas were grounded, and why he is so celebrated. I’m happy to be illuminated.
    Catherine