If man fell on his hands, walked as a quadruped, let grow his fur and stood and howled, evolution would have taken a significant step. How much better would the savage, the angry, the left-behind, the humiliated, and the offended be. No hate speech, no hands free for weapons or possessions to grab. He would have a dripping mouth, not to eat his neighbors, but to supply them with food thrown back. So he would finally no longer be a threat and become completely innocent, moving freely across all borders pure of heart.
A piece for a speaker, a conductor, a musician and trucker, a choir, five to six dancers and a child. As wolves, they dance in a Europe, from which they were expelled for a long time. Territorialisation, whether cartographic, biologically evolutionary or just in the mind, is an incisive process. backsteinhaus produktion gets on the ball and follows it to the limit of its own possibilities. Howling, the wolves drag down the barriers of our thinking, tear at the image of the stranger, the intruder, the frightener and show us how peaceful social interaction can be lived harmlessly and safely.
›Wolfgang‹ was and selected for the Tanz Yearbook 2018 as one of the seven best pieces about homeland.
Performance and creation: Chloé Beillevaire, Jean Bermes, Steven Chotard, Giancarlo D’Antonio, Isabelle v. Gatterburg, Joscha Halder, Caroline Intrup, Andreia Rodrigues
Musicians: Heiko Giering and the performer
Artistic director: Nicki Liszta
Executive director and artistic assistant: Isabelle Gatterburg
Music director and composition: Heiko Giering
Stage and costumes: Valentin Eisele
Dramaturgy: Martina Grohmann, Caroline Intrup
Video: Christopher Bühler
Intern: Michael Guserle
Duration of the piece: ca. 90 minutes
»… because the choreographer Nicki Liszta rules this carnivore, the spectators can expect an unusual dance theater evening, in which constellations are broken and rules are turned upside down – so intensively that it quickly becomes clear: the wolf is about the wall in our heads, the ability to be awake and changeable rather than lethargic and biased.
Liszta is a master at communicating themes through spatial proximity … cared for by a ›personal performer‹, no one has to be afraid when he finds himself suddenly under wolves. … the dance [maintains] animal sharpness and explores the balance between human gait and wolf gait with aggressive force until evolutionary leaps become painful locomotion. …
Not how we want to live is the question, but how we can live together: Nicki Liszta finds beastly good pictures for the tensions of the time.« Andrea Kachelrieß, Stuttgarter Nachrichten, 14. October 2017
»Don’t feel too cozy: Just sitting and watching is not enough for Nicki Liszta. In the dance-theatrical undertakings of the Stuttgart choreographer you never know exactly what to expect as a spectator. Also ›Wolfgang‹ at the Theater Rampe makes you jump sometimes. …
Despite all doubts sometimes the hope, that we all still have the savage within us, almost rises. In addition to the great ensemble giving everything, Heiko Giering’s live music is an essential part of the exciting evening.« Angela Reinhardt, Eßlinger Zeitung, 14./15. October 2017
»Wolves are lurking on the audience tribune. We would love them if they were just dogs. But wolves wander and don’t respect borders. We only know them from afar. That’s our fear. Now we’re even supposed to take them in: ›Crossbreed wolves, a little bit of Arctic Wolf, a little bit Arabian,‹ praises the voice. The wolf pack pounces on us – dancers as wolves as refugees, ›on whom we use firearms if necessary.‹ There is a shot. In the leg. There is singing.
We love our homeland, the folkloric evenings. Not the traditional ones, but the folkloric evenings, which unite us against the construction of the highway. Or against refugees. In a non-contact duo, neither dancer allows a step to pass the other. This free Stuttgart production of Nicki Liszta shows neither refugees nor wolves, but points to us, the audience. I believe: Our fear is our home.« Arnd Wesemann, Tanz Yearbook 2018
Realized in cooperation with the Theater Rampe in the line of the three-year collaboration ›Rampe tanzt!‹. Funded through conceptions-subsidies of the Landesverband Freie Tanz- und Theaterschaffende Baden-Württemberg e.V. aus Mitteln des Ministeriums für Wissenschaft, Forschung und Kunst des Landes Baden-Württemberg and the City of Stuttgart and kindly supported by Stiftung der Landesbank Baden-Württemberg.
The guest performance at the Seoul International Dance Festival was made possible by the kind support of the Goethe Institute and the City of Stuttgart.