• angela stoecklin

collaborations and early pieces

Aktualisiert: Juni 2

collaborations with other artists inspire me and enrich my approaches, thoughts, visions. They allow for questioning of my own(habitual)processes

here you also find my very first short pieces, which already started my explorations on space and the in-between



m.a.p.collective

music.arts.performance

mahsa.angela.peter



this collective between Iran and Switzerland grew out of the desire to keep connected even when meeting and travelling during the pandemic is not possible. We explore and play with how we can interact online without loosing the sense of the analogue.

A regular performance-practice will be established via instagram.











"if I set one foot" (2017/18), collaboration with Rakesh Sukesh and POL (sound), Michael Omlin (light)at Tanzhaus Zurich


a research project on "one-ness"

different dynamics of negotiations as means of arriving at common aims. An artistic exploration of a global issue, a playful fathoming with or against one another, a missing and hit...



https://vimeo.com/250018910





wo bist du (2014), collaboration with Nadine Schwarz

a surreal mini-drama, developed out of a game of to and fro, in which tasks and collected items were reciprocally worked on further: a walk, collections of items, associated texts and images eventually condensed to a filmic collage.


https://vimeo.com/172316134












"particular dogs" (2013), collaboration with Angela Rabaglio, Simon Bertsch (sound)

Particular dogs is a multilayored dance duet about parallelism, spacial as well as  physical obligations and dependency. Somehow a tender piece but not in lack of rough edges and fragmentations. 

We associate a nordic atmosphere, a solitary way of life, something odd and peculiar which also includes proximity, warmth and caring.


September 26th 2013 Pantographe, Moutier https://vimeo.com/74500140 passwort:  fragment




move1 (2007/08)collaboration with Marie-Cécile Reber, sound

move1 explores communication between the two languages music and dance within their crosspoint. From sounds of dancers a danceable piece develops. Can dance be made audible and music be made visible?


January 28th 2008 Gare du Nord,

Basel

August 19th/21st 2010,  

Visitenkarten,Pfäffikon/Schwyz

November 21st 2010 Tanz in Olten



this project was followed by a research between Marie-Cécile Reber, Jan Schacher and myself on the linkage of sound and movement via sensors

this led to the piece "trans-form" in 2012 (see interdisciplinary projects)






inter too (2004), collaboration with Philipp Läng, sound, and Brigitte Dubach, light


inter too explores in-between states.

Angela Stöcklin finds herself on a circle as a space between something that isn’t anymore and something that is not yet. A performance, which asks questions about the dissolving and naming of the I, when a moment is not quite tangible anymore.

The composition is a structure with landmarks. In the phases inbetween the events are being developed anew each time.


„ In „inter too“ an introspective woman circles clockwise on stage, then sets rhythmical accents, slows down or accelerates her pace, changes to ambling, adds movements of the arms, builds in turning, moves on the diameter of the circle and in the end runs around the other way... Angela Stöcklin.. in her solo concequently pulls through a certain concept. The work on concentration and reduction of the movement-acts dominate the piece.“ 

(Landbote, Dez. 04)


coproduction Tanzhaus Wasserwerk Zurich, December 2004

further performances groundzero Theater Baden, January 2005



"inter" (2003) site specific performance, conceived for the corridor of Tanzhaus Wasserwerk, Zurich

sound: Frank Bretschneider, Robert Babicz, monolake

short piece of 12 minutes


inter is an exploration of catching the „not being in the moment“, halting it, bringing it to consciousness to a „being in the moment“


Corridor as stop inbetween A and B, as transitory space, and in the awareness mostly not in the now and here.

inter is a game with presence /non-presence, and explores the state of not being in the moment; out of walking it fokusses on unconscious fragments of non-presence, draws them close as if with a zoom and thus gives them presence.













"good morning, dancer" (1999), collaboration with Eliane Künzig, dance

music Fred Frith: "throw the bolt", "alienated seagulls"

short piece of 8 minutes

A glimpse behind the scene of a dancer’s mind, busying itself to quite some extent with discomforts and nagging of the body, and how these can make themselves independent and take overhand.

„... thrilling for example „good morning, dancer“. Two women and the urban music of Fred Frith, which enters into their bodys, moves and jerks through them. Metallically hard. The two bodies, like robot dolls, and yet again so bony-soft human, commit themselves to the music, are being pushed by it, pulled, comply to it’s impulses, like the metal pellets in physics...“ (Landbote, Okt.99)


October 1999 8th Tanzzeit-Festival Theater am Gleis Winterthur

June 2000 Tanzparenz 4 Kulturhallen Dampfzentrale Bern

autumn 2000 studio-perfo Lausanne

November 2000 International Choreographic Platform Almada/Portugal

March 2001 12minmax Tanzhaus Wasserwerk Zurich




CONTRA (1996)

musicPaul Hindemith, Jacques Loussier, Steve Martland

short piece of 11 minutes

the concept of light and space play a major role in the realization of the piece.It begins as if one looked into one level of action, then abruptly into another, back again and once more into another. Almost as if one person danced different roles simultaneously without them listening to one another. These different levels mix in the finale in a choreography which tears you to and fro.


1996 Tanz in Stücken Zurich, Lausanne, Bern, Geneva

1997 Männedorf, WUK Theater Vienna



"Labyrinth" (1992)

music: exerpt from Paul Giger’s "Labyrinth"

very short piece of 6 minutes

game between “being moved” and “moving”, or “being led, chased, irritated”, and of when does the I take over direction and leadership

Labyrinth was generated through shere lust in moving and by inspiration of an exerpt of Paul Giger’s music Labyrinth from the film “Chartres”, in which he uses the violin as rhythm - instrument.



„ Labyrinth by Angela Stöcklin lead onto a ridge full of tension: ultimate controle on the one hand side, total letting go on the other. The dancer folllowed the impulses of the music and the body, and still always remained superior in her light and airy movements.“ (NZZ, Nov. 92)




October 1992 Tanz in Stücken Zurich

November 1992 3. Tanzzeitfestival/Tanzwerkstatt Winterthur

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