Romanian Platform @ EDF #7

Romanian Platform @ EDF #7

(ANTI) AGING (50′)
11.10.2012 / 20:00 / WASP – WORKING ART SPACE & PRODUCTION

Concept, choreography and performance: Mădălina Dan, Mihaela Dancs
Light design: Cătălin Nicolescu
Technical support: Mihai Dragomir
Presenter & artistic consultant: Ștefania Ferchedău
Partners & funders: National Dance Centre Bucharest, E-motional Bodies & Cities/ Gabriela Tudor Foundation, artsf

(anti) aging was created with the intention to be remade after 30 years, in 2041. In 2012, Mădălina Dan and Mihaela Dancs propose the creative sanatorium format, aiming for delight, relaxation and physical comfort, enjoyment of pleasure, vitality and voluptuousness, serene acceptance of the present and preservation for the future.
“(anti) aging is a tonic and tender performance about an age which smolders with the memory of certain impulses and strong sensations. It is an affective map of the future, as it appears projected within existing voices. It is an emotional manifest of the ones-we-will-become, as we would have in our hands a photography of ourselves at different ages.” (Mihaela Michailov, Art Act Magazine, no. 139, 26.10.2011)

Mădălina Dan studied Choreography at UNATC Bucharest. In 2008 she participated in Danceweb Scholarship Program-Vienna. She was an invited artist at the Herberber Institute, School of Dance (Arizona State University). Since 2005, she teaches contemporary dance for non-professionals at the National Dance Centre in Bucharest. Her work has been presented at Sprindance Festival Utrecht, Tanzquartier Wien, Balkan Dance Platform Novi Sad, eXplore Dance Festival Bucharest, Temps d’Images Cluj, SouthBank Center& Chisenhale Dance Space London, Fabrik Potsdam, DTW New York, etc.

Mihaela Dancs, former dentist, currently a performer and choreographer based in Bucharest. She has danced among others for Allyson Green, Catalina Gubandru, Andreea Capitanescu, Florin Flueras, Maria Baroncea & Eduard Gabia, Bernard Baumgarten, Vava Stefanescu, Madalina Dan, Robin Dingemans. Her works include collaborations with Rui Catalao (Coada Soricelului and Follow That Summer) and Carmen Cotofana (First Steps), solos (Reprogramare, Lulu’s Room, The Greatest Loss of All – adaptation of Deborah Hay’s Art and Life, Solo Performing Commissioning Project 2010), and have been presented in theaters, apartments, attics, churches, factories, art galleries and dance studios in Bucharest, Cluj, New York, San Diego, London, etc. In 2010 and 2012 she received the DanceWEB Scholarship in Vienna/Impulstanz.



Choreography and performance: Catrinel Catană
Production: 4Culture
With the support of: Workspace Brussels, Jardin d’Europe, Programul Cultura al Uniunii Europene, WASP – Working Art Space & Production

“Look at me/ just look without breathing / my body wants to stay together / I still feel my body / The hair is all over my face / can you prove you are alive? / I can be a child again / here and here / little by little / step by step/ fighting with concrete in the meaning of abstract / actually we are not alone at all/ unlock the space / eat the space.. “ (“Poem”, Catrinel Catană)

Catrinel Catană graduated from UNATC, section Choreography, and holds a Master in the same specialization. During her years of study, she was a part of shows like “Tuesday”, “Six characters in search of an identity”. She collaborated with Andreea Novac, Konstantin Mikos, Sydney Leoni and Cosmin Manolescu. Currently she is working as a performer and choreographer with Cosmin Manolescu in the show “I am myself.” Her last performance, “Corp Bazar”, premiered in March 2012, and is the result of a collaboration with two younger choreographers, Andreea Belu and Timea Kovacs.


13.10.2012 / 19:00 / WASP – WORKING ART SPACE & PRODUCTION

Choreography: Sergiu Matiş
Performance: Nefeli Skarmea, Sergiu Matiş

The body and the voice are tested in a series of actions evoking an alienated, transformed and fragile body, though, always coming back to its reality. thus the human body appears as an organic mass which often seems strange and almost ridiculous, due to its possibilities and limitations. A body tired of being a body. It is a body of the extremes: falling, twisting and untwisting, dissolving, being capsized, reversed or turned backwards. However, all efforts offer only an illusion of transformation: the figures unavoidably return to our known, human, pedestrian figure.

Born in Cluj-Napoca, Romania, studied dance at Liceul de Coregrafie in his hometown (1991-2000) and then at Akademie des Tanzes Mannheim as a scholarship- holder of the Tanzstiftung Birgit Keil.Starts his professional career at Tanztheater Nürnberg where amongst others he worked with Daniela Kurz, Stijn Celis, Jo Strømgren, Catherine Guerin, Rodolfo Leoni, Russell Maliphant, Lionel Hoche, Jo Kanamori, Rui Horta, Javier de Frutos, Andre Gingras, Jorma Elo.Workshops: William Nadylam (Peter Brook Company), Duccio Bellugi- Vannuccini (Theatre du Soleil), Compagnie Alias- Geneva, Julien Hamilton, Susan Klein, Jeremy Nelson.Since 2008 living and working in Berlin, collaborating with Colette Sadler-Stammer Productions, Yossi Berg, Oded Graf, and joined the Company Sasha Waltz & Guests for several projects and productions.Own creations: Human Nature, Landing, ThreeDoors.Search, Crossover Dreams, 89.Grenzenlos, Ploaie de vara, 5 short pieces for Tanzkunst at Neues Museum Nürnberg, Ending-dong, all of a sudden, Duet, doom room.


14.10.2012 / 20:00 / WASP – WORKING ART SPACE & PRODUCTION

Concept and performance: Andreea Novac
Music: Sorin Romanescu
Photo: Carlos Gutierrez
A project funded by: Centrul de Cultură George Apostu Bacău
In partnership with: Centre de Création Corégraphique TROIS C-L Luxemburg
A project realized with the support of the Gabriela Tudor Foundation, as part of the programme E-MOTIONAL Bodies & Cities / ArtistNe(s)t residencies, 4Culture Association, and Workshop Foundation, within Jardin d’Europe – a project funded through the Culture Programme of the European Union
Thanks to: Centrul Național al Dansului București

I have a weakness for affection
I have a weakness for tenderness
And another one for a lost battle
I have a weakness for a separation /
I have a weakness for sensuality
And one for the caressing hand
A weakness for unanswered questions
I have a weakness for the incomplete /
I have a weakness for your words
Another one for humanity
I have a weakness for audacity /
I have a weakness for gentleness
I have a weakness for compassion
And a weakness for remorse
I have a weakness for honesty

Andreea Novac graduated from the Faculty of Psychology at the University of Bucharest in 2003. In the same year she became a student of UNATC, Choreography section. Between 2003 and 2007 she attended workshops led by Cosmin Manolescu, Mihai Mihalcea, Florin Fieroiu, Eduard Gabia, Valentina de Piante, Brynjar Bandlier, Allyson Green, Martin Sonderkamp, David Zambrano, Ivan Wolfe, Marianne Bar, Angelique Willkie, Ted Stoffer, Marrion Ballester, Marianne Bar, Marta Coronado, Mirva Makinen, Andrew Harwood. She received research scholarships on Movement in Naples (Italy), in order to participate in the International Festival of Contemporary Dance Tanzimpulse (Salzburg) and in ImPulsTanz workshops (Vienna). In 2006-2007 she performed in the international project The Migrant Body. Among her personal pieces: Just the two of you, Are you going with me?, Aici totul e diferit, Aici, acum, Show it (off)!, 100% romanesc.


DUET (40′)

Concept: Sergiu Matiș & Vlaicu Golcea
Performance: Sergiu Matiș (dans/dance), Vlaicu Golcea (muzică/music)

Manipulative, music wants to take over the dancer, to impose on him emotions and movements. In Duet, surrounded by microphones, speakers and instruments, the performers are confrunted with an imperative question: is music the one making dance possible or can things happen the other way around? Dancer Sergiu Matiș and musician Vlaicu Golcea go step by step through the creative tension, with a lot of humour, accomplishing an intelligent and extremely lively entertainment show.

Composer and jazz musician with a discography of over 30 titles in Romania and abroad and a rich concert activity, Vlaicu Golcea works in various areas of syncretic art: music theater, contemporary dance, film (long and short film), multimedia installations. He signed the music of over 40 plays, and in 2009 he was awarded the Uniter prize for theater music. He composed and performed music for contemporary dance with Romanian and foreign artists.


10 & 11.10.2012 / 14:00 – 21:00 / WASP – WORKING ART SPACE & PRODUCTION

Concept, performance: Vlad Basalici
Scenography: Andrei Dinu
New media design & programming: Cristian Iordache & Vlad Basalici
Production: Asociatia AvMotional
Project funded by: Centrul National al Dansului Bucuresti

The project Este ceea ce este investigates what type of attention a living body and a video-taped body require from the public and especially the way in which this attention can be negotiated in a performance so that neither prevails over the other.
In this performance, Vlad Basalici focuses on how a performance can be built in which the video image is as important as the real body on the stage, and, moreover, on how the video image influences the existance of the body on stage and vice-versa.

Vlad-Stoica Basalici is a performer and visual artist living and working in Bucharest. In his works, he investigates ways in which we perceive temporality. Vlad is involved in performances based on choreography but also in site-specific performances. In 2011 Vlad Basalici was selected to participate at Danceweb at Impulstanz Festival in Vienna.


12.10.2012 / 20:00 / WASP – WORKING ART SPACE & PRODUCTION

By: Marina Albu, Paul Dunca, Maria Baroncea
Coproduction: The National Dance Center Bucharest and the Inter-University Center for Dance Berlin, in the frame of the study course MA SODA Master Studies
Supported by: subRahova, feldefel production, Macaia Art

Maria Baroncea is the manager of her own time, working on things that interest her in a mostly slow tempo. For the moment she owns the pseudonyms and the projects The BUREAU of Research and Manifestation of the Continuous Present, Feldefel production, Miercurea lejera, Rectifier crew, Eio – one hour society. She studies at UDK Berlin – MA Soda Master studies.

PAUL DUNCA was born in Bucharest where he still lives and works today. After graduating the National University of Drama and Film “I.L.Caragiale” (Choreography section) and studying Play-Writing at U.N.A.T.C. Bucharest, he never said ‘NO’. That’s why his work is very eclectic: from waiting tables to his own MTV show, from community art and to go-go dancing to articles in glossy magazines and from performing at the National Centre of Dance in Bucharest to coordinating fashion shows. All in all he’s happy whenever he can be useful.

I realized just now why I always delay sending/writing my bio. I know it for sure at this moment. I DO NOT BELIEVE IN BIOS. Bios do not matter to me. At all. Which city one comes from, where one works, if one has well-known artist-or-something-else-ancestors, how old or young one is or if the university where one studied has renowned teachers or ex-students (there is one grand figure of art history who’s student work was rescued by the university i was in and placed in the middle of the spiraling teachers stairs, but i did not study neither with him nor with his teachers – all long gone). It does not matter how many exhibitions one had and where they had it, it does not matter what prizes they won or at what prices they sell. At most, all these are future conversation starters, guesses on influences or familiarity highlights. I do activate for several years in the art zone and I try to touch nerves and transmit all I can trough this, mostly thoughts, sensations, emotions, the private, the public, the hidden and the shown, observations or desires. I am all around us, the human kind, our behavior, habits and that what we perceive. This is what I have for input. And this makes me just as much as you. The selection is what makes us different, and the reasons why we do this. And my reason is our growing out of our fears, sufferings and certainties.

P.S.: For those eager to know how old i am, what school i’ve been to and who raised me, my email address is I will answer as soon as possible. I encourage interaction, even on email. For past projects see

All the best,


15.02.2012, Bucharest


NESOMN (50′)
11.10.2012 / 18:00 / WASP – WORKING ART SPACE & PRODUCTION

A show by: Arcadie Rusu
Costumes: Cristina Barbu
Cast: Ioana Marchidan, Ramona Bărbulescu, Galina Bobeicu, Elisabeta Mihai, Ștefan Lupu, Arcadie Rusu.

“We are relentless shapes of dreams, we project and generate dreams, we live them for ourselves, for others, others live them… We also live them for those who are no longer among us, just as they live them for us.
Dreams are complex forms we go through continuously where there are no rational delimitations. They are the multitude of dimensions we are a part of. They are the lives we had, the forms we have passed through, they are what will never end.”


Let the savage soul flounder
Throughout arms, palm cracks touching the face
Patiently kissed,
Taste the garden apples,
Be your own defeated master,
Consume ‘till transformation,
Transform ‘till it hurts,
Until eyes become heavy rain clouds,
Bearing storms, swallowing floods,
Take off the wet coat and
Love those fingerprints which burn embraces.
And the soul, leave it savage and floundering.

Arcadie Rusu


Arcadie Rusu studied BA in Choreography between 2003/2007 and the MA between 2007/2009 at the Caragiale University of Theatrical Arts and Cinematography Bucharest. In 2011, he was awarded the danceWEB scholarship programme in Wien. He also took part in the “A-Corps” Dance Festival in Poitiers, France; the Contemporary Dance Festival in Prague; and Cultural Coverage Festival in Chisinau, Republic of Moldova.
Performances by Arcadie:
Hunted Devotion (Opera Holland Park, London)
No Sleep (National Centre of Dance Bucharest),
Crazy Stories in the City (Small Theatre Bucharest),
Promised Land (Small Theatre Bucharest),
Trial with closed doors (Romanian Athenaeum),
Critical Area (La Scena, Arca Theatre),
Mind Control(awarded for the best performance at the graduation gala)
From 2007 component in “Gigi Căciuleanu Romanian Dance Company”


27.09.2012 / 17:00 / CĂMINUL MOSES ROSEN

By/with : Echipa Vârsta4 şi rezidenţii Căminului Moses Rosen
Thanks to: Rodica Dumitrache, Ilie Zan
The show is part of the project „ISTORIE FIZICĂ” funded by AFCN 2012. The project is created in partnership with the National Dance Centre in Bucharest

What is your favorite part of the body?
SORIN STEINBERG : My bald head, it’s a mark of distinction.
MARGARETA ESCHENAZY: My stomach. I never had stomach problems.

When did you feel your body in danger?
EVA SZEMLER LENDVAY: During interrogations by the „Securitate”.
LIDIA FONEA: During the ’77 earthquake.
POMPILIU STERIAN: In 1944, during the bombing.

Tell us about a few discoveries and physical sensation:
MARGARETA ESCHENAZY – I discovered I had the time in my body. If I want to wake up at a certain hour, I really do wake up.
SORIN STEINBERG – I had a nice feeling at 18 years old, I was going with some friends at the restaurant and we drank liqueur and cognac every day. It was exhilerating. We were allowed to.
IUDITH ARDELEANU – I had a nice sensation when my father taught me how to walk on a freshly mowed field: you touch the hay.

Each body bears the personal and collective histories of its time. A trip to the ages, feelings, dangers, and memories of bodies that years have turned into living histories. A recall of social and political contexts that turn bodies into testimonies of the past and anticipations of the future. The body moves history.

Mihaela Michailov & Paul Dunca


01. – 21.10.2012 / 17:00 / WASP – WORKING ART SPACE & PRODUCTION

Installation: Maria Balabaș, Daria Ghiu, Mihai Balabaș

The installation represents a possible route of the recorded and performed sound and its meaning: John Cage’s voice listing his principles of life, composition, and listening (recording from the archive of the Romanian Radio&Broadcasting, Darmstadt 1990); the rough recording of sound walks in Bucharest; the artistic intervention on these sound archives; the suggestion of permanent customization of the acoustic experience. On two of the levels sound is constantly amplified: new recordings complete the archive and also the artistic act that they generate.
You can come completely unprepared in this space. You can spend from 1 → ∞ minutes here. Some of the questions that may arise are: What do you actually hear? How much of what you hear satisfies you aesthetically, socially, humanly? What is your contribution to this environment and to acoustic meaning?
Pasărea care-ți mușcă auzul also symbolizes, at least by name, an attempt to mythologize sound content and our contemporary way of living and producing sound. This is its first meaning.

Maria Balabaș (Romania, born in Bucharest) graduated from The National University of Music in Bucharest, specialized in Musicology, and holds a Master of Arts on the role of music in the evolution of the radio inside a society. During 2005-2006 she was an Erasmus student at Carl von Ossietzky Universität, Oldenburg, Germany. Since 2003 she has been collaborating with the Romanian Society of Radio Broadcasting, and in 2007 she became a producer at Radio România Cultural. Her radio show, The Morning Crossover, produced and presented by herself, received in 2008 the award for Journalism from the Romanian Publication „Musical Actuality” of UCMR. She’s a member of the Ars Acustica group at EBU and Propuls Association, which promotes contemporary music. She collaborates regularly with other well-known cultural publications like Dilema Veche, TATAIA, etc.
In 2012 she was a collaborator in the project The Forest of Sounds (held at Platforma Space, National Museum of Contemporary Art), creating the graphic part of the installation.

Daria Ghiu was born in Bucharest (1983). 2001-2005. Studies of literature, communication and art history at the University of Bucharest and Università degli Studi di Perugia (I). 2005-2006 Master within the Publishing Program at the University in Bucharest. 2006-2007 Studies at the European College of Liberal Arts (Berlin). 2008-2010 Master in Art History and Theory (University of the Arts, Bucharest). 2008 Art educator at Manifesta 7 in Italy. Since 2007 art journalist for Romanian cultural magazines and art magazines. Since 2008 permanent collaborator at the Romanian Cultural Public Radio as a radio author, focusing on the contemporary art scene.
Since September 2010 doctoral fellow at the Swiss Institute for Art Research (SIK-ISEA) in Zurich within the bounds of the Focus Project Venice Biennale. The dissertation project discusses the cultural representation of the Romanian Pavilion at the Venice Biennale.


16.09.2012 / ORA

We can say that from a visual point of view we started to become comfortable with the constantly developing and chaotic City; zoomed in, the details that the buildings offer are increasingly significant; we know all the signals and the all the corners of the capital; gradually, we become even more aware of the influence that public space has on the collective mind, and slowly we begin to have the space become public.
Although we are becoming more and more sensitive to the visual impact that the city has on the collective mind, urban sound education is still in a stage of embryo. Few are those who think of sound in terms other than noise, concert, aggression, iphone, etc. There are, however, a few methods that can teach us how to listen to the city noise, in order to recognize it, and even to protect it. One of these includes, besides the concept of sound activism, the sound walk, and belongs to Murray Schafer who came up with it in the ’70s, in Vancouver.
The walking Sounds group organized two sound walks until now, and, this fall, returns to the same old Bucharest – one of Europe’s most affected cities in terms of noise pollution. It is the interventionist method that best fits the way we see these walks / performance. We will ask ourselves “What does the city sound like?” Like a indeterminate mass of aggressive sounds, which we were taught to reject from the very begining? Like an environment from which we just want to escape and never stay? If so, what could be done to restore sound normality?
For an hour and a half group members will not speak, mobile phones will not be used, we think high heels won’t be necessary.


11.10.2012 / 21:00 / WASP – WORKING ART SPACE & PRODUCTION

Concept, performance: Paul Dunca & Krassen Krastev
Costumes: Diana Bobina & Katia Guzun, Fe[Male]
Project produced with the support of: the Gabriela Tudor Foundation, Bucharest, in the frame of the E-MOTIONAL Bodies & Cities programme / ArtistNe(s)t residencies, Bacău, Romania 2011 and premiered at Volksroom, Bruxelles, Belgium (December 2011)

“Gold is often used as a metaphor for the visionary and paradisiac state, while wings denote unlimited ability to travel between realms, or else divine kindness and protectiveness.”
(Stanislav Grof – “Books of the Dead”)
A pure speculation about a state unlike anything we can experience in this life, but which people have tried to describe as best they can with the language they have.

Krassen Krastev is a Bulgarian dancer, performer and choreographer. He is founder of the first contemporary dance company in Bulgaria, Amarant Dance Studio, in 1993. Later in Lausanne, Switzerland, he created a few short pieces, presented in different festivals across Europe. Krassen Krastev received a DanceWeb scholarship in 2004, where he worked with Alain Buffard and performed in his piece ”Mauvais genre”. Krastev’s collaboration with Brice Leroux / Continuum vzw (Brussels), began in 2005, first as a dancer and then as an artistic assistant, till 2010. Paul Dunca and Krassen Krastev met at Balkan Dance Platform in Ljubljana in April 2011 and have been collaborating since July 2011.


14.10.2012 / 19:00 / WASP – WORKING ART SPACE & PRODUCTION

Concept and choreography: Valentina De Piante Niculae
Dramaturge and choreographer: Serenella Fonzar
Performance: Valentina De Piante and Timea Kovacs
Light designer: Cătălin Nicolescu
Music: M. Behrens, Vita-Ena, Aurechre, Carbon_Based_Lifeforms
Co-production: Jardin d’Europe, 4Culture, Centrul de Cultura „G. Apostu” Bacău, CNDB Centrul Naţional al Dansului Bucureşti, Trois C-L Luxemburg, Associazione Avenal- A.S.D Cervignano del Friuli Italia
With the support of: Programul Cultura al Uniunii Europene, CNDB- Bucureşti, Paf-Performing Arts Forum-Franţa, Cartierul de Dans-Bucureşti

At almost 40, I find myself bound in a new identity, with a new identity card, in a new bio-political context. After giving birth and educating three children, after fighting to obtain the Romanian citizenship, after studying choreography and having done research as a teacher, my body has gained some weird, conflictual marks ….
Who am I really?
I have been advised to search for something I have forgotten: the wild women in me, my hiden parts, my” masculin animus”…
Having the chidren as inspiration, I have thrown mysef into my body, where the experiences of several lives cross together in biological, cultural, emotional and biographical cohabitation. Using my body, I am trying to search the gender and the power marks, the sensuality and the sexuality, the childhood and the elderness…From a Brechtian distance, I am analizing myself while I am performing.

Valentina De Piante Niculae has a BA in choreography from the University of Drama and Film U.N.A.T.C „I.L.Caragiale“ of Bucharest. From October 2010 she begun a doctorate in performing arts searching an approach to the body from within, exploring the organic, emotional and imaginary part of self. She is interested in children and the way they develop by means of actions to abstract thinking, from the lived experience to symbolistics.
In 2007 she had a carte blanche at the National Center of Dance in Bucharest as to create and perform „Corporis Memoriae“. In 2009 she was invited to the „TTT-Teaching The Teachers“ event taking place in the frame of Jardin d’Europe. She is Assistent Professor at the U.N.A.T.C „I.L.Caragiale“, department of choreography, where since 2010 she is also leading a laboratory with a group of actors and choreographers (students), trying to develop a practice for the performer.

Serenella Fonzar graduated in 1990 at the National Academy of Dance, in Rome. Teaches ballet, contemporary dance and movement education in Portogruaro (Venice). She studied contemporary dance, modern dance, and contact improvisation in New York at Movement Research, Dance Space, Trisha Brown Dance Company. Dal 1990 partecipa all’ Impuls Tanz di Vienna (danza classica, contemporanea, contact improvisation, composition). From 1990 is participating to Impuls Tanz in Wien (ballet, contemporary dance, contact improvisation, composition) She won many competitions with her own works. She organized many events and performances on contemporary dance and research. In 1998 has established CorpoDesto Dance Company. Currently she is colaborating with Valentina De Piante Niculae.

Kovàcs Timea graduated in 2011 at the University of Theatre and Film UNATC “I.L. Caragiale”, Bucharest, Choreography Department. At the Graduate’s Gala Ceremony gets the prizes for best dance-performance and best performer. She is interested in the dance through which she can get access to the subconscious mind. Continuously visits workshops related to theatre and dance practises with Frans Winther (Odin Teatret), Billy Cowie, Lola Keraly, Angie Hauser, Gilbert Coutrin, Kristin Rennack, Valentina De Piante Niculae. At the moment she is collaborating with Valentina De Piante Niculae, is associated artist of PASAJ Company from Cluj Napoca and studies physiotherapy at the University of Szeged, Hungary.


08.10.2012 – 14.10.2012 / 14:00 – 21:00 / WASP – WORKING ART SPACE & PRODUCTION

A show proposed by Eduard Gabia

Where is the elephant? – invites you to a journey in a safe environment to live for a while, in other contexts and conventions. A (performative) laboratory between reality and perception.
The starting point is the famous Indian fable: “Blind and elephant.” Six blind persons meet different parts of an elephant.Each of them creates her own version of reality based on her limited experience and perspective.
Similarly, in “Where is the elephant?”, the attention goes to the vacuum formed between reality and perception. The framework – physical – conventional – is created as an organic medium for different perspective approaches simultaneously. To consider and discuss the mechanisms through which these factors act.

Eduard Gabia is a facilitator and a contextualiser. He performed for the coregraphers: Mihai Mihalcea, Cosmin Manolescu, Charles Linehan, Brynjar Bandlien, Thomas Pliscke and Kattrin Deufert, Maria Baroncea, Michikazu Matsune and David Subal, Thomas Lehmen.
His performances : Fine tuning between me and the universe in a black box, my brut material-your performance, 5 minutes of my life, Bonus, My presence proof of time, 8 days a week, Spectacolul meu, were presented in places and festivals like DTW Dance Theater Workshop New York, Tanzquartier Wien, dietheater Wien, Manoever Leipzig, Paris Quartier d’Eté, Balkan Dance Platform, Internationales TanzFest Berlin/Tanz im August, ImpulsTanz Wien, Centre Culturel André Malraux Nancy, Kaaitheater Brussels, and others.
Since 2009, together with four other choreographers/performers, he is member of Cooperativa Performativa – a collective working utopia that proposes an anarchic open source model for the performantive context. Together with Maria Baroncea he created the format Miercurea lejera (Easy Wednesday) supported by CNDB (National Dance Center Bucharest). He realized two short movies: 5765 frames, produced by TVR (Romanian National Television) and Fara cuprins, together with Ion Dumitrescu, produced by CNDB (National Dance Center Bucharest).


12.10.2012 / 18:00 / WASP – WORKING ART SPACE & PRODUCTION

Concept and performance: Ana Cătălina Gubandru
Production: Uzes Danse CDC 2011 in partnership with Odeon Theater Nimes and Studio L’Officina Marseille

The concept is to reproduce identically on stage 40 minutes of dance improvisation previously filmed 1 minute each day during 40 consecutive days in the own apartment.

Ana Catalina Gubandru, born in Bucharest 1981, is a Romanian choreographer and performer. She studied ballet in Choreography High School in Kiev and Bucharest and graduated the National University of Drama and Film, Choreography Creation, Bucharest. She presented her performances in International Festivals & Platforms and participated in workshops and creation residencies in Romania, France, Germany, Portugal, Greece, Czech Republic, Estonia, Austria, Brussels, Ukraine.
Some of her creations: ”You look as something I might know” – 2011, ”LAMUR (the most beautiful I can)” – 2010, ”Trust in me ou les mots et les mots” – 2010, ”I don’t know, I’ve never been here before” – 2009, ”My peformance” – 2008, ”No memories” – 2006, ”Above the roof” – 2005.


12.10.2012 / 21:00 / WASP – WORKING ART SPACE & PRODUCTION

Concept and performance: Jean-Lorin Sterian
With the participation of: Eduard Gabia – tobe/ piese albe / drums/ white pieces
Production: Lorgean Theatre

Zugzwang (German for “compulsion to move”) is a situation found usually in chess, but also in various other games, where one player is put at a disadvantage because he has to make a move when he would prefer to pass and make no move. The fact that the player must make a move means that his position will be significantly weaker than the hypothetical one in which it was his opponent’s turn to move.

Jean-Lorin Sterian
 is a writer, playwright, performer and former journalist. Since 2008 he transformed his house into a performative space (lorgean theatre) which has become a landmark for local alternative culture. Along with Alexandra Pirici, Eduard Gabia, Maria Baroncea and Vlad Basalici, he was part of the Rectifier Crew, which supported Inertia for Everybody (2010). He performed constantly in the frame of ”Miercurea lejera” at CNDB (2009-2011). In 2012 was selected to participate in the danceWEB Scholarship Programme 2012 in ImPulsTanz – Vienna International Dance Festival.