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In my works (2012), I explore the notion of the virtuoso by alternating between exact and approximate repetitions of certain movements.

This choreographic pattern forces the dance vocabulary to re-assert itself.

These lyrics, which are often explicitly sexual, are handwritten on a4 sheets that get crumpled up and thrown away as the dance goes on. (The Mad Masters, 1955) I’m intrigued by works that contain some kind of magic or riddle that cannot always be deciphered – a strange familiarity that renders the familiar strange.

As Rainer proposed in her 1965 , which comprises 700 pages of artists’ scripts, charts, notes, instructions and graphs that the reader can re-perform.

Frieze Video: see Alexandra talk about her influences in a specially commissioned It is my overall concern to reveal people as they are engaged in various kinds of activities – alone, with each other, with objects – and to weight the quality of the human body towards that of objects and away from the super-stylization of the dancer.

(1968) I’m interested in an entire spectrum of expression and, to me, Rainer’s work stands at the opposite end to entertainment.

My work (2008) is a soap opera and a study of a soap opera – a story and a meta-story.

I explore both the structure of this dramatic form and the blood-sweat-and-tears nature of the acting it involves.

Her performances are the antitheses of show business and have influenced the aesthetics of contemporary dance to this day.

As a fellow female choreographer, I relate to her work and admire her playful stage sets and choreographic proposals.

In terms of the physical discipline it demands, this is not dissimilar to the training required for classical ballet or athletic sports. In many mainstream movies and soap operas, the manipulation of the narrative according to marketing strategies and product placement is curiously both hidden and transparent.

I’m interested in the psychological impact of such infiltrating lifestyle propaganda on the audience.

Her performances also address stereotypical representations of the female body in popular culture, show business and the sex industry.

In 2011, she developed a new version of her work , will premiere at Kaserne Basel and also be presented at the Stedelijk Museum, Amsterdam, the Netherlands; Festival Tanz at Dampfzentrale, Bern, in October; and Gessnerallee, Zurich, in November.

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