Juggling and movement - Summer Course
A five-week course aimed at you who wishes to explore and deepen knowledge of juggling and movement practices. The course is placed in Berlin.
Benjamin Richter will lead classes on the fundamental principles of moving with and without objects during the first week and every Monday. From Tuesday to Friday each week, different internationally renowned experts will share their methods and ideas in the mornings. Afternoon sessions will be used by students for independent training to digest, explore and integrate new information. Each student will also take part in two afternoon group supervision sessions geared towards the development of the student’s personal creative processes. Benjamin Richter teacher, mentor and course leader at Department of Cicus at Stockholm University of the Arts will lead these sessions.
Course director : BENJAMIN RICHTER
Benjamin Richter has been juggling, dancing, performing and teaching professionally since 1991. Working between contemporary circus, live art and abstract sculpture performance he has toured the world with solo and ensemble projects.
Over the last decades, Benjamin has studied many somatic practices as well as countless styles of movement, dance and clowning, always looking to give form to and enrich his own unique expression of creative spirit.
Benjamin creates, choreographs, performs and teaches with his personal object oriented practice “The Language of Objects” (TLO). He has a particular interest in improvisation and instant composition. As well as continuing to perform, he is a regular guest lecturer, course leader and supervisor at DOCH in Stockholm and teaches workshops worldwide.
Benjamin has a strong interest in the complementary aspects of academic study and artistic expression. His personal artistic research is concerned with object-oriented ontology in relation to circus choreography and instant composition.
Benjamin directed “Stehfleisch & Sitzvermögen” by german company “Spot the Drop”, co-directed “The Moon Illusion” by award winning Danish company “Rapid Eye” as well as “Tunnel” by Maleta company and Wes Peden’s solo piece “Zebra”. He was a consultant for John-Paul Zaccarini’s performance work “Head”.
Sean Gandini is one of the pioneers of contemporary juggling. Working as a performer, choreographer and director he has, for over 35 years, pushed the boundaries of juggling as a discipline and as an art form. In 1991, with Kati Ylä-Hokkala, he co-founded Gandini Juggling and together they have been at the forefront of experiments into what juggling is and what juggling can be.
Sean is a prolific creator. Whether working with the technicality of ‘pure’ juggling, crafting spectacular street art shows, or exploring the ways juggling might blend with other art forms, Sean is guided by a natural curiosity and delight in the myriad possibilities of throwing objects into the air.
This has led to the creation to a diverse array of shows, including the playful Sweet Life; the fiendishly complex celebration of the London Olympics Twenty/Twenty; and their smash hit, the darkly humorous and theatrical homage to Pina Bausch Smashed.
Throughout his career he has collaborated with many other acclaimed artists, including pioneering American musician Tom Johnson and the influential British choreographer Gill Clarke. More recently Sean has collaborated with choreographer Ludovic Ondiviela to create the ground-breaking juggling ballet 4 x 4 (Ephemeral Architectures), set to original music by Nimrod Borenstein. In 2016 Sean worked as juggling choreographer on English National Opera’s acclaimed production of Philip Glass’ opera Akhnaten. Sean regularly teaches in many of the world’s leading Circus Schools, inspiring the next generation of jugglers.
The juggling workshops of Stefan Sing are known worldwide. as one of the pioneers in vitalising the art of juggling, and more than 25 years experience in teaching, from beginners to professionals, everybody can take massive inspiration as well as technical progress out of this class.
Beside the technical work to connect our bodies with the objects in the outside (organic juggling), the focus will be the exploration of a metaphorical way of our juggling. juggling is communication, juggling is a language, juggling is readable – juggling is more than juggling. juggling reaches a different level if it’s a place-holder for something else – an emotion, an atmosphere, a thought, etc…. with partner work, improvisations, choreographies and discussions we will try to deepen our understanding of the juggling-potential to reach you and the outside on a deeper level.
» If we’re even luckier, some of the many jugglers he’s taught will spread his gospel of technical perfection, integrated movement, and personal vision far and wide. « (juggle magazine, 3/2011)
Anni Küpper is a full-time professional juggling performer and coach from Germany. Originally trained at the Academy for Circus and Performance Art she is now performing all over the globe and works as head juggling coach at The Circus Project in Portland, Oregon. She is known for her personal brand of club manipulation and won several awards for inspiration within the juggling scene.
Juggling and choreography
This workshop will give you tools and concepts to develop your own personal juggling material and to develop short sequences. Starting from a combination of technique, movement and creative work we will look into ways to explore and enrich juggling in differents ways. Some focus points are rhythm, focus, detail, relationship between body and object, improvisation and the use of your body in an organic way. At the end of the course you will finish with your own sequence(s) and a toolbox of techniques, ideas and practice knowledge to create more on your own.
MARIANNA DE SANCTIS
Marianna de Sanctis studied at “FLIC” circus school in Italy, and at “LE LIDO” in France. She has performed as a soloist in variety theatres throughout Germany and with Gandini Juggling at the Royal Opera house in London. In her teaching she focuses on artistic research with objects and elements of theater and clowning. Participants learn to control the expansion of their emotions into movement and juggling to create narrative. Familiar material is deconstructed and rebuilt with a new intention to support the unique expression of the individual.