Gangplank - User contributions [en]

Capturing and processing vibrations

2023-01-25T17:46:36Z

Paulkotal: /* Set up / Implementation */

[[category: Research]]

==Context==

Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.

==Initial concepts==

In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.

We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces. A similar approach can be found e.g. in the works of Bill Fontana.
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/

We set up to expand these interconnections over time and to relocate them in media specific to our practices.

==Set up / Implementation==

We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum. 

In our experimental set up we used mainly two objects as sound inputs:

* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)

* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument

Sound treatment applied to the input from the gong:

* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances
* heavy compression to enhance the atmospheric sounds and avoid clipping
* transient shaping to extend the natural sustain of the gong
* noise reduction

Sound treatment applied to the inputs of the singing bowl:

* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics

The vibrations sonically treated as described above were then sent to various outputs:

* a big shelf made to sound by a bass transducer
* a fire bowl made to sound by a bass transducer
* a window made to sound by a full range transducer
* a stereo pair of studio monitors
* two series of low voltage lighting bulbs powered by a stereo sound amplifier
* the color and intensity channels of 3 LED Fresnel fixtures

Sound input applied to the control of the color mix of the LED fixtures:

* The 3 tremolos are sent to 3 inputs of a sound interface
* Their envelope is analysed and re-scaled to a range of values fitting the DMX protocole in the lighting instance of Pure Data
* These values, sent via UDP to a Lanbox DMX controller, are then used to control the color mix of each of the 3 Fresnel fixtures

Sound input applied to the control of the intensity channel of the LED fixtures:

* A 4th input of the sound interface receives the processed audio signal from the live input of the singing bowl, resulting in a decay
* Its envelope is similarly analysed and re-scaled in the lighting instance of Pure Data
* it sent via UDP to the Lanbox DMX controller and used to control the intensity channels of the 3 Fresnel fixtures

Additionally:

* we used the intensity of the LED lighting fixtures to modify the tonal spectrum of resonating objects and the decay time of their resonances
* we also used the intensity of the LED lighting fixtures, sent via UDP and OSC to the sound instance of Pure Data, to control the intensity of the 3 tremolos

==Creation of a sequence==

We finally created a short sequence based on the notion of expansion of interconnections over time and relocation of processed signal in various media:

* the live input of the gong on the roof was played back to the shelf, the fire bowl and the studio monitors. In this instance the volume of the fire bowl followed the intensity of the LED Fresnels, that also influenced its tonal spectrum. At the same time the volume of the shelf was influenced by the inverted values of the intensity of the LED Fresnels, resulting in counter movement in volume
* the singing bowl was played acoustically as an instrument. Its resonances were picked up by the dynamic microphone, delayed by 20 seconds and sent to the low voltage lighting bulbs that flared in sync with the two upper tremolos of the singing bowl. After an other delay of 50 seconds the same signal was sent to the LED Fresnels that displayed in color tones and intensity the three tremolos and the envelope of the signal
* the resonances of the singing bowl were also sent to the fire bowl when sent first to the bulbs and then to the Fresnels. Only this second event was affecting the spectral modification of the resonances audible from the fire bowl
* by playing the singing bowl in different ways, different reactions of the bulbs and the Fresnels were controlled

Capturing and processing vibrations

2023-01-25T17:19:54Z

Paulkotal:

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T15:56:58Z

Paulkotal: /* Texts */

[[Category:Performance]]

''This article is still under construction.'' 

[[File:Parasol.jpeg|right|350px|border|copyright Alexi Pelekanos]]

==In short==
For their second piece, the five PARASOL participants – Alex Bailey, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker – will team up with choreographer Alix Eynaudi, sound designer Paul Kotal and musician Han-Gyeol Lie to create a speculative register of songs and dances. Evoking a crowded tableau vivant of our present time, this piece will never fully explain the origins of complex concepts, even if we might understand them (or not). Based on the idea of a library, this piece will borrow and gather words, change their meaning aimlessly and draw on the shades of their endings while it also rocks their songs and dances their undergrowth.

==Credits==
Concept '''Alix Eynaudi''' by and with '''Alex Bailey''', '''Camilla Schielin''', '''Júlia Rúbies Subirós''', '''Shahrzad Nazarpour''', '''Theresa Scheinecker''', Sound design, music compilation, montage of music '''Han-Gyeol Lie''', '''Paul Kotal''' Light design '''Krisha Piplits''' (re-visiting of the light design made for the piece Hedera helix by '''Elizabeth Ward''') Costumes '''An Breugelmans''' Digital Piano '''Kawai MP 9500''' Preproduction, music residency '''Zonkeystudios''' Production management '''Eva Holzinger / Mollusca Productions''' Production '''Tanzquartier Wien'''

==Parasol==

A dance group of TQW. Starting in 2022, two choreographers – this year’s are Ian Kaler and Alix Eynaudi – will continuously work with a select group of five young dancers on a TQW Halle G production for three months each year. Further training will complement the artistic practice, and artists will be embedded in TQW’s diverse programme of productions, theory lectures and body & performance practices. A hybrid artistic – and paid – training project for the dance scene in Vienna and beyond, but also a mobile network of relations, an experimental setting with a focus on the vital needs of ensemble productions: solidarity, collective experience, conviviality

==Publication==

<gallery widths="300" heights="300" perrow="7" mode=slideshow>
File:Page 0.jpg| Page 0
File:Page 1.jpg| Page 1
File:Booklet Page 2.jpg| Page 2
File:Booklet Page 3.jpg| Page 3
File:Booklet Page 4.jpg| Page 4
File:Booklet Page 5.jpg| Page 5
File:Booklet Page 6.jpg| Page 6
File:Booklet Page 7.jpg| Page 7
File:Booklet Page 8.jpg| Page 8
File:Booklet Page 9.jpg| Page 9

Image:BookletPage10.jpg| Page 10
</gallery>

==Texts==

https://tqw.at/gemaelde-vom-choral/

'''Susanne Songi Griem''' über To Sing The Wind, Pipes and Bones, A Dance Choral von Alix Eynaudi / PARASOL

'''Gemälde eines Chorals'''

Auf Wikipedia steht: „Ein Choral bezeichnet ursprünglich die einstimmige vokale Kirchenmusik der westkirchlichen Liturgie.“

TOR Auf dem Umschlagpapier steht in Handschrift: „To Sing The Wind, Pipes And Bones, A Dance Choral. Alix Eynaudi, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker, Alex Bailey, Han-Gyeol Lie, Paul Kotal, Krisha Piplits, An Breugelman.“

Camilla und Alex teilen am Eingang zur Halle ein Beiheft zum Abendprogramm aus. Tagebuch der gemeinsamen Zeit: „Please fold your time slowly near me.“

In einer Probe, bei der ich vor einer Woche zu Besuch war, haben sie in Bücher geschaut, den PVC-Boden angehoben und sie darunter versteckt. Der Tanzboden war Tasche zum Verstauen von Text, eine Bibliothek wuchs aus dem Boden. Es geht los. Sie sammeln sich in handgenähten Kleidern um den quadratischen weißen Tanzboden auf der Bühne, und ich denke an Renaissancegemälde.

SCHNEE Das Klavier malt eine Schneelandschaft. Es kann tanzen. Es glitzert, knurrt, stottert, springt, wiegt, trauert, stolziert und pausiert abwechselnd oder gleichzeitig mit nebeligem oder punktiertem Rauschen aus den Boxen. Das E-Piano auf Rollen ist an lange schwarze und weiße Kabeln angeschlossen. Es wandert am Rand zwischen dem großen weißen Tanzboden in der Mitte und dem schwarzen Holzboden an den Seiten der Bühne entlang. Die Farbpalette der Klaviertasten macht sich im Raum breit. Ich denke: Schwarz mit Weiß ist nicht Grau, sondern Rhythmus.

PERSPEKTIVE Theresa zieht am Beginn eine Lederente diagonal durch den Raum. Ich denke an meine gestreifte Tigerente aus Holz von früher. Irgendwo habe ich mal gelesen, dass Tiger und Bär ein schwules Paar sind. Das hier ist eine andere Geschichte aus einer anderen Welt. Alice im Wunderland: Die Augen der Ente leuchten grün. Weiter vorn durchquert ein Rollbrett einsam und bestimmt den Raum – genau an der Stelle, an der das Klavier dunkel und tief spielt. Später zieht Shahrzad mit den fehlenden Klavierpedalen am Kabel, wie mit schwarzem Teer, einen Pfad auf dem weißen Boden. Ich denke an ihren Haartanz am Schillerplatz vor ein paar Wochen.

SONNTAGSAUSFLUG Ein buntes Bild um Júlia auf Rollschuhen: Die Ruhe einer Eiskunstläuferin, die am Ende eines langen Tages die letzte Stunde auf dem Eis für sich allein genießt. Das Licht um sie wechselt, ein Schnelldurchlauf der Lichtstimmungen von Elizabeth Wards Hedera Helix: Ein Besuch im Park, der Winkel der Sonne ändert sich, sie rollt vorbei an einem grünen See, gelben Straßenlaternen und einem blauen Wald. Ich sehe Júlias kräftige Beine und denke an das Vienna Roller Derby und dass ich dieses Jahr wieder bei keinem Spiel war.

HERZBLATT UND FENSTER Dann stolpert plötzlich eine Herz-Dame aus dem Backdrop, und wir sehen durch einen Ausschnitt in in Leibniz-Keks-Form Alex‘ Brustkorb. Neben der Herz-Dame ein Hund in schwarzem Leder (bist du das, Shahrzad? Ich komme bei den Kostümwechseln nicht mehr mit), und beide verschwinden schnell wieder dorthin, woher sie gekommen sind. Überhaupt sind überall Schnitte und Fenster in den Kostümen: Der Stoff hat Karo-Cut-outs oder ist halbtransparent und legt das Becken frei. Hinter einem geplätteten Kaktus hervor singt Alex in den gebrochenen, gesprenkelten Raum. Seine Stimme ist gemischt mit Rauschen und Klavier, es wird mir unheimlich zumute.

JUGEND Camilla tanzt. In Lip-Sync rollt sie sitzend über die Bühne. Ein kurzer Zoom in das intimste Selbstgespräch im Schlafzimmer, in Kimono oder Pyjama. Ich merke, ich erinnere mich an kein Wort, das sie mit ihren Lippen formt. Nur an den Blick, den sie uns von verschiedenen Orten der Bühne zuwirft. Sie sieht uns. Mit ihr ändert sich der Tanz: Ihr seht euch jetzt an, nicht zu, Theresa und Júlia schmelzen wortwörtlich ineinander. Keine Kanten, wie Theresa sie anfangs mit ihren Händen um ihr Gesicht geformt hat, weniger Wörter.

In der Probe letzte Woche hat Alix mit Alex (ich wollte unbedingt einmal beide Namen hintereinanderschreiben) über die Verlängerung der Bewegung seiner Arme gesprochen. Es ging um die Stelle, an der er dem Publikum die goldene Maniküre zeigt. „Da ist noch viel mehr Raum, als du denkst: Von den Schultern aus kann der Ellbogen weiter aufgehen, die Energie fließt von unter deinen Fingernägeln heraus.“

Susanne Songi Griem is a German performance and visual artist living in Vienna. Her first work for stage Fisch und Schwan in Negligé premiered in 2021 as a journey through a living anti-cabinet of curiosities and memories. Spaziergang bei Nacht followed in 2022, an acoustic duet with Pete Prison IV. Susanne Songi has collaborated in different constellations for performative works in public space, among others with Alexandra Pirici, Scarlet Yu and Xavier Le Roy or in self-organized groups such as Gruppe Bussi and Perilla.

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T14:17:48Z

Paulkotal: /* Texts */

[[Category:Performance]]

''This article is still under construction.'' 

[[File:Parasol.jpeg|right|350px|border|copyright Alexi Pelekanos]]

==In short==
For their second piece, the five PARASOL participants – Alex Bailey, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker – will team up with choreographer Alix Eynaudi, sound designer Paul Kotal and musician Han-Gyeol Lie to create a speculative register of songs and dances. Evoking a crowded tableau vivant of our present time, this piece will never fully explain the origins of complex concepts, even if we might understand them (or not). Based on the idea of a library, this piece will borrow and gather words, change their meaning aimlessly and draw on the shades of their endings while it also rocks their songs and dances their undergrowth.

==Credits==
Concept '''Alix Eynaudi''' by and with '''Alex Bailey''', '''Camilla Schielin''', '''Júlia Rúbies Subirós''', '''Shahrzad Nazarpour''', '''Theresa Scheinecker''', Sound design, music compilation, montage of music '''Han-Gyeol Lie''', '''Paul Kotal''' Light design '''Krisha Piplits''' (re-visiting of the light design made for the piece Hedera helix by '''Elizabeth Ward''') Costumes '''An Breugelmans''' Digital Piano '''Kawai MP 9500''' Preproduction, music residency '''Zonkeystudios''' Production management '''Eva Holzinger / Mollusca Productions''' Production '''Tanzquartier Wien'''

==Parasol==

A dance group of TQW. Starting in 2022, two choreographers – this year’s are Ian Kaler and Alix Eynaudi – will continuously work with a select group of five young dancers on a TQW Halle G production for three months each year. Further training will complement the artistic practice, and artists will be embedded in TQW’s diverse programme of productions, theory lectures and body & performance practices. A hybrid artistic – and paid – training project for the dance scene in Vienna and beyond, but also a mobile network of relations, an experimental setting with a focus on the vital needs of ensemble productions: solidarity, collective experience, conviviality

==Publication==

<gallery widths="300" heights="300" perrow="7" mode=slideshow>
File:Page 0.jpg| Page 0
File:Page 1.jpg| Page 1
File:Booklet Page 2.jpg| Page 2
File:Booklet Page 3.jpg| Page 3
File:Booklet Page 4.jpg| Page 4
File:Booklet Page 5.jpg| Page 5
File:Booklet Page 6.jpg| Page 6
File:Booklet Page 7.jpg| Page 7
File:Booklet Page 8.jpg| Page 8
File:Booklet Page 9.jpg| Page 9

Image:BookletPage10.jpg| Page 10
</gallery>

==Texts==

'''Susanne Songi Griem''' über To Sing The Wind, Pipes and Bones, A Dance Choral von Alix Eynaudi / PARASOL

'''Gemälde eines Chorals'''

Auf Wikipedia steht: „Ein Choral bezeichnet ursprünglich die einstimmige vokale Kirchenmusik der westkirchlichen Liturgie.“

TOR Auf dem Umschlagpapier steht in Handschrift: „To Sing The Wind, Pipes And Bones, A Dance Choral. Alix Eynaudi, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker, Alex Bailey, Han-Gyeol Lie, Paul Kotal, Krisha Piplits, An Breugelman.“

Camilla und Alex teilen am Eingang zur Halle ein Beiheft zum Abendprogramm aus. Tagebuch der gemeinsamen Zeit: „Please fold your time slowly near me.“

In einer Probe, bei der ich vor einer Woche zu Besuch war, haben sie in Bücher geschaut, den PVC-Boden angehoben und sie darunter versteckt. Der Tanzboden war Tasche zum Verstauen von Text, eine Bibliothek wuchs aus dem Boden. Es geht los. Sie sammeln sich in handgenähten Kleidern um den quadratischen weißen Tanzboden auf der Bühne, und ich denke an Renaissancegemälde.

SCHNEE Das Klavier malt eine Schneelandschaft. Es kann tanzen. Es glitzert, knurrt, stottert, springt, wiegt, trauert, stolziert und pausiert abwechselnd oder gleichzeitig mit nebeligem oder punktiertem Rauschen aus den Boxen. Das E-Piano auf Rollen ist an lange schwarze und weiße Kabeln angeschlossen. Es wandert am Rand zwischen dem großen weißen Tanzboden in der Mitte und dem schwarzen Holzboden an den Seiten der Bühne entlang. Die Farbpalette der Klaviertasten macht sich im Raum breit. Ich denke: Schwarz mit Weiß ist nicht Grau, sondern Rhythmus.

PERSPEKTIVE Theresa zieht am Beginn eine Lederente diagonal durch den Raum. Ich denke an meine gestreifte Tigerente aus Holz von früher. Irgendwo habe ich mal gelesen, dass Tiger und Bär ein schwules Paar sind. Das hier ist eine andere Geschichte aus einer anderen Welt. Alice im Wunderland: Die Augen der Ente leuchten grün. Weiter vorn durchquert ein Rollbrett einsam und bestimmt den Raum – genau an der Stelle, an der das Klavier dunkel und tief spielt. Später zieht Shahrzad mit den fehlenden Klavierpedalen am Kabel, wie mit schwarzem Teer, einen Pfad auf dem weißen Boden. Ich denke an ihren Haartanz am Schillerplatz vor ein paar Wochen.

SONNTAGSAUSFLUG Ein buntes Bild um Júlia auf Rollschuhen: Die Ruhe einer Eiskunstläuferin, die am Ende eines langen Tages die letzte Stunde auf dem Eis für sich allein genießt. Das Licht um sie wechselt, ein Schnelldurchlauf der Lichtstimmungen von Elizabeth Wards Hedera Helix: Ein Besuch im Park, der Winkel der Sonne ändert sich, sie rollt vorbei an einem grünen See, gelben Straßenlaternen und einem blauen Wald. Ich sehe Júlias kräftige Beine und denke an das Vienna Roller Derby und dass ich dieses Jahr wieder bei keinem Spiel war.

HERZBLATT UND FENSTER Dann stolpert plötzlich eine Herz-Dame aus dem Backdrop, und wir sehen durch einen Ausschnitt in in Leibniz-Keks-Form Alex‘ Brustkorb. Neben der Herz-Dame ein Hund in schwarzem Leder (bist du das, Shahrzad? Ich komme bei den Kostümwechseln nicht mehr mit), und beide verschwinden schnell wieder dorthin, woher sie gekommen sind. Überhaupt sind überall Schnitte und Fenster in den Kostümen: Der Stoff hat Karo-Cut-outs oder ist halbtransparent und legt das Becken frei. Hinter einem geplätteten Kaktus hervor singt Alex in den gebrochenen, gesprenkelten Raum. Seine Stimme ist gemischt mit Rauschen und Klavier, es wird mir unheimlich zumute.

JUGEND Camilla tanzt. In Lip-Sync rollt sie sitzend über die Bühne. Ein kurzer Zoom in das intimste Selbstgespräch im Schlafzimmer, in Kimono oder Pyjama. Ich merke, ich erinnere mich an kein Wort, das sie mit ihren Lippen formt. Nur an den Blick, den sie uns von verschiedenen Orten der Bühne zuwirft. Sie sieht uns. Mit ihr ändert sich der Tanz: Ihr seht euch jetzt an, nicht zu, Theresa und Júlia schmelzen wortwörtlich ineinander. Keine Kanten, wie Theresa sie anfangs mit ihren Händen um ihr Gesicht geformt hat, weniger Wörter.

In der Probe letzte Woche hat Alix mit Alex (ich wollte unbedingt einmal beide Namen hintereinanderschreiben) über die Verlängerung der Bewegung seiner Arme gesprochen. Es ging um die Stelle, an der er dem Publikum die goldene Maniküre zeigt. „Da ist noch viel mehr Raum, als du denkst: Von den Schultern aus kann der Ellbogen weiter aufgehen, die Energie fließt von unter deinen Fingernägeln heraus.“

Susanne Songi Griem is a German performance and visual artist living in Vienna. Her first work for stage Fisch und Schwan in Negligé premiered in 2021 as a journey through a living anti-cabinet of curiosities and memories. Spaziergang bei Nacht followed in 2022, an acoustic duet with Pete Prison IV. Susanne Songi has collaborated in different constellations for performative works in public space, among others with Alexandra Pirici, Scarlet Yu and Xavier Le Roy or in self-organized groups such as Gruppe Bussi and Perilla.

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T14:17:11Z

Paulkotal: /* Texts */

[[Category:Performance]]

''This article is still under construction.'' 

[[File:Parasol.jpeg|right|350px|border|copyright Alexi Pelekanos]]

==In short==
For their second piece, the five PARASOL participants – Alex Bailey, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker – will team up with choreographer Alix Eynaudi, sound designer Paul Kotal and musician Han-Gyeol Lie to create a speculative register of songs and dances. Evoking a crowded tableau vivant of our present time, this piece will never fully explain the origins of complex concepts, even if we might understand them (or not). Based on the idea of a library, this piece will borrow and gather words, change their meaning aimlessly and draw on the shades of their endings while it also rocks their songs and dances their undergrowth.

==Credits==
Concept '''Alix Eynaudi''' by and with '''Alex Bailey''', '''Camilla Schielin''', '''Júlia Rúbies Subirós''', '''Shahrzad Nazarpour''', '''Theresa Scheinecker''', Sound design, music compilation, montage of music '''Han-Gyeol Lie''', '''Paul Kotal''' Light design '''Krisha Piplits''' (re-visiting of the light design made for the piece Hedera helix by '''Elizabeth Ward''') Costumes '''An Breugelmans''' Digital Piano '''Kawai MP 9500''' Preproduction, music residency '''Zonkeystudios''' Production management '''Eva Holzinger / Mollusca Productions''' Production '''Tanzquartier Wien'''

==Parasol==

A dance group of TQW. Starting in 2022, two choreographers – this year’s are Ian Kaler and Alix Eynaudi – will continuously work with a select group of five young dancers on a TQW Halle G production for three months each year. Further training will complement the artistic practice, and artists will be embedded in TQW’s diverse programme of productions, theory lectures and body & performance practices. A hybrid artistic – and paid – training project for the dance scene in Vienna and beyond, but also a mobile network of relations, an experimental setting with a focus on the vital needs of ensemble productions: solidarity, collective experience, conviviality

==Publication==

<gallery widths="300" heights="300" perrow="7" mode=slideshow>
File:Page 0.jpg| Page 0
File:Page 1.jpg| Page 1
File:Booklet Page 2.jpg| Page 2
File:Booklet Page 3.jpg| Page 3
File:Booklet Page 4.jpg| Page 4
File:Booklet Page 5.jpg| Page 5
File:Booklet Page 6.jpg| Page 6
File:Booklet Page 7.jpg| Page 7
File:Booklet Page 8.jpg| Page 8
File:Booklet Page 9.jpg| Page 9

Image:BookletPage10.jpg| Page 10
</gallery>

==Texts==

Susanne Songi Griem über To Sing The Wind, Pipes and Bones, A Dance Choral von Alix Eynaudi / PARASOL

Gemälde eines Chorals

Auf Wikipedia steht: „Ein Choral bezeichnet ursprünglich die einstimmige vokale Kirchenmusik der westkirchlichen Liturgie.“

TOR Auf dem Umschlagpapier steht in Handschrift: „To Sing The Wind, Pipes And Bones, A Dance Choral. Alix Eynaudi, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker, Alex Bailey, Han-Gyeol Lie, Paul Kotal, Krisha Piplits, An Breugelman.“

Camilla und Alex teilen am Eingang zur Halle ein Beiheft zum Abendprogramm aus. Tagebuch der gemeinsamen Zeit: „Please fold your time slowly near me.“

In einer Probe, bei der ich vor einer Woche zu Besuch war, haben sie in Bücher geschaut, den PVC-Boden angehoben und sie darunter versteckt. Der Tanzboden war Tasche zum Verstauen von Text, eine Bibliothek wuchs aus dem Boden. Es geht los. Sie sammeln sich in handgenähten Kleidern um den quadratischen weißen Tanzboden auf der Bühne, und ich denke an Renaissancegemälde.

SCHNEE Das Klavier malt eine Schneelandschaft. Es kann tanzen. Es glitzert, knurrt, stottert, springt, wiegt, trauert, stolziert und pausiert abwechselnd oder gleichzeitig mit nebeligem oder punktiertem Rauschen aus den Boxen. Das E-Piano auf Rollen ist an lange schwarze und weiße Kabeln angeschlossen. Es wandert am Rand zwischen dem großen weißen Tanzboden in der Mitte und dem schwarzen Holzboden an den Seiten der Bühne entlang. Die Farbpalette der Klaviertasten macht sich im Raum breit. Ich denke: Schwarz mit Weiß ist nicht Grau, sondern Rhythmus.

PERSPEKTIVE Theresa zieht am Beginn eine Lederente diagonal durch den Raum. Ich denke an meine gestreifte Tigerente aus Holz von früher. Irgendwo habe ich mal gelesen, dass Tiger und Bär ein schwules Paar sind. Das hier ist eine andere Geschichte aus einer anderen Welt. Alice im Wunderland: Die Augen der Ente leuchten grün. Weiter vorn durchquert ein Rollbrett einsam und bestimmt den Raum – genau an der Stelle, an der das Klavier dunkel und tief spielt. Später zieht Shahrzad mit den fehlenden Klavierpedalen am Kabel, wie mit schwarzem Teer, einen Pfad auf dem weißen Boden. Ich denke an ihren Haartanz am Schillerplatz vor ein paar Wochen.

SONNTAGSAUSFLUG Ein buntes Bild um Júlia auf Rollschuhen: Die Ruhe einer Eiskunstläuferin, die am Ende eines langen Tages die letzte Stunde auf dem Eis für sich allein genießt. Das Licht um sie wechselt, ein Schnelldurchlauf der Lichtstimmungen von Elizabeth Wards Hedera Helix: Ein Besuch im Park, der Winkel der Sonne ändert sich, sie rollt vorbei an einem grünen See, gelben Straßenlaternen und einem blauen Wald. Ich sehe Júlias kräftige Beine und denke an das Vienna Roller Derby und dass ich dieses Jahr wieder bei keinem Spiel war.

HERZBLATT UND FENSTER Dann stolpert plötzlich eine Herz-Dame aus dem Backdrop, und wir sehen durch einen Ausschnitt in in Leibniz-Keks-Form Alex‘ Brustkorb. Neben der Herz-Dame ein Hund in schwarzem Leder (bist du das, Shahrzad? Ich komme bei den Kostümwechseln nicht mehr mit), und beide verschwinden schnell wieder dorthin, woher sie gekommen sind. Überhaupt sind überall Schnitte und Fenster in den Kostümen: Der Stoff hat Karo-Cut-outs oder ist halbtransparent und legt das Becken frei. Hinter einem geplätteten Kaktus hervor singt Alex in den gebrochenen, gesprenkelten Raum. Seine Stimme ist gemischt mit Rauschen und Klavier, es wird mir unheimlich zumute.

JUGEND Camilla tanzt. In Lip-Sync rollt sie sitzend über die Bühne. Ein kurzer Zoom in das intimste Selbstgespräch im Schlafzimmer, in Kimono oder Pyjama. Ich merke, ich erinnere mich an kein Wort, das sie mit ihren Lippen formt. Nur an den Blick, den sie uns von verschiedenen Orten der Bühne zuwirft. Sie sieht uns. Mit ihr ändert sich der Tanz: Ihr seht euch jetzt an, nicht zu, Theresa und Júlia schmelzen wortwörtlich ineinander. Keine Kanten, wie Theresa sie anfangs mit ihren Händen um ihr Gesicht geformt hat, weniger Wörter.

In der Probe letzte Woche hat Alix mit Alex (ich wollte unbedingt einmal beide Namen hintereinanderschreiben) über die Verlängerung der Bewegung seiner Arme gesprochen. Es ging um die Stelle, an der er dem Publikum die goldene Maniküre zeigt. „Da ist noch viel mehr Raum, als du denkst: Von den Schultern aus kann der Ellbogen weiter aufgehen, die Energie fließt von unter deinen Fingernägeln heraus.“

Susanne Songi Griem is a German performance and visual artist living in Vienna. Her first work for stage Fisch und Schwan in Negligé premiered in 2021 as a journey through a living anti-cabinet of curiosities and memories. Spaziergang bei Nacht followed in 2022, an acoustic duet with Pete Prison IV. Susanne Songi has collaborated in different constellations for performative works in public space, among others with Alexandra Pirici, Scarlet Yu and Xavier Le Roy or in self-organized groups such as Gruppe Bussi and Perilla.

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T14:11:46Z

Paulkotal:

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T14:11:20Z

Paulkotal:

[[Category:Performance]]

''This article is still under construction.'' 

[[File:Parasol.jpeg|right|450px|border|copyright Alexi Pelekanos]]

==In short==
For their second piece, the five PARASOL participants – Alex Bailey, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker – will team up with choreographer Alix Eynaudi, sound designer Paul Kotal and musician Han-Gyeol Lie to create a speculative register of songs and dances. Evoking a crowded tableau vivant of our present time, this piece will never fully explain the origins of complex concepts, even if we might understand them (or not). Based on the idea of a library, this piece will borrow and gather words, change their meaning aimlessly and draw on the shades of their endings while it also rocks their songs and dances their undergrowth.

==Credits==
Concept '''Alix Eynaudi''' by and with '''Alex Bailey''', '''Camilla Schielin''', '''Júlia Rúbies Subirós''', '''Shahrzad Nazarpour''', '''Theresa Scheinecker''', Sound design, music compilation, montage of music '''Han-Gyeol Lie''', '''Paul Kotal''' Light design '''Krisha Piplits''' (re-visiting of the light design made for the piece Hedera helix by '''Elizabeth Ward''') Costumes '''An Breugelmans''' Digital Piano '''Kawai MP 9500''' Preproduction, music residency '''Zonkeystudios''' Production management '''Eva Holzinger / Mollusca Productions''' Production '''Tanzquartier Wien'''

==Parasol==

A dance group of TQW. Starting in 2022, two choreographers – this year’s are Ian Kaler and Alix Eynaudi – will continuously work with a select group of five young dancers on a TQW Halle G production for three months each year. Further training will complement the artistic practice, and artists will be embedded in TQW’s diverse programme of productions, theory lectures and body & performance practices. A hybrid artistic – and paid – training project for the dance scene in Vienna and beyond, but also a mobile network of relations, an experimental setting with a focus on the vital needs of ensemble productions: solidarity, collective experience, conviviality

==Publication==

<gallery widths="300" heights="300" perrow="7" mode=slideshow>
File:Page 0.jpg| Page 0
File:Page 1.jpg| Page 1
File:Booklet Page 2.jpg| Page 2
File:Booklet Page 3.jpg| Page 3
File:Booklet Page 4.jpg| Page 4
File:Booklet Page 5.jpg| Page 5
File:Booklet Page 6.jpg| Page 6
File:Booklet Page 7.jpg| Page 7
File:Booklet Page 8.jpg| Page 8
File:Booklet Page 9.jpg| Page 9

Image:BookletPage10.jpg| Page 10
</gallery>

==Texts==

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T14:09:49Z

Paulkotal: /* Publication */

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T14:08:43Z

Paulkotal: /* Publication */

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T14:07:57Z

Paulkotal: /* Publication */

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T14:07:19Z

Paulkotal: /* Publication */

[[Category:Performance]]

''This article is still under construction.'' 

[[File:Parasol.jpeg|right|450px|border|copyright Alexi Pelekanos]]

==In short==
For their second piece, the five PARASOL participants – Alex Bailey, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker – will team up with choreographer Alix Eynaudi, sound designer Paul Kotal and musician Han-Gyeol Lie to create a speculative register of songs and dances. Evoking a crowded tableau vivant of our present time, this piece will never fully explain the origins of complex concepts, even if we might understand them (or not). Based on the idea of a library, this piece will borrow and gather words, change their meaning aimlessly and draw on the shades of their endings while it also rocks their songs and dances their undergrowth.

==Credits==
Concept '''Alix Eynaudi''' by and with '''Alex Bailey''', '''Camilla Schielin''', '''Júlia Rúbies Subirós''', '''Shahrzad Nazarpour''', '''Theresa Scheinecker''', Sound design, music compilation, montage of music '''Han-Gyeol Lie''', '''Paul Kotal''' Light design '''Krisha Piplits''' (re-visiting of the light design made for the piece Hedera helix by '''Elizabeth Ward''') Costumes '''An Breugelmans''' Digital Piano '''Kawai MP 9500''' Preproduction, music residency '''Zonkeystudios''' Production management '''Eva Holzinger / Mollusca Productions''' Production '''Tanzquartier Wien'''

==Parasol==

A dance group of TQW. Starting in 2022, two choreographers – this year’s are Ian Kaler and Alix Eynaudi – will continuously work with a select group of five young dancers on a TQW Halle G production for three months each year. Further training will complement the artistic practice, and artists will be embedded in TQW’s diverse programme of productions, theory lectures and body & performance practices. A hybrid artistic – and paid – training project for the dance scene in Vienna and beyond, but also a mobile network of relations, an experimental setting with a focus on the vital needs of ensemble productions: solidarity, collective experience, conviviality

==Publication==

<gallery widths="300" heights="300" perrow="7" mode=slideshow>
File:Page 0.jpg| Page 0
File:Page 1.jpg| Page 1
File:Booklet Page 2| Page 2

Image:BookletPage10.jpg| Page 10
</gallery>

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T14:06:19Z

Paulkotal: /* Publication */

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T14:05:33Z

Paulkotal: /* Publication */

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T13:26:53Z

Paulkotal: /* Publication */

[[Category:Performance]]

''This article is still under construction.'' 

[[File:Parasol.jpeg|right|450px|border|copyright Alexi Pelekanos]]

==In short==
For their second piece, the five PARASOL participants – Alex Bailey, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker – will team up with choreographer Alix Eynaudi, sound designer Paul Kotal and musician Han-Gyeol Lie to create a speculative register of songs and dances. Evoking a crowded tableau vivant of our present time, this piece will never fully explain the origins of complex concepts, even if we might understand them (or not). Based on the idea of a library, this piece will borrow and gather words, change their meaning aimlessly and draw on the shades of their endings while it also rocks their songs and dances their undergrowth.

==Credits==
Concept '''Alix Eynaudi''' by and with '''Alex Bailey''', '''Camilla Schielin''', '''Júlia Rúbies Subirós''', '''Shahrzad Nazarpour''', '''Theresa Scheinecker''', Sound design, music compilation, montage of music '''Han-Gyeol Lie''', '''Paul Kotal''' Light design '''Krisha Piplits''' (re-visiting of the light design made for the piece Hedera helix by '''Elizabeth Ward''') Costumes '''An Breugelmans''' Digital Piano '''Kawai MP 9500''' Preproduction, music residency '''Zonkeystudios''' Production management '''Eva Holzinger / Mollusca Productions''' Production '''Tanzquartier Wien'''

==Parasol==

A dance group of TQW. Starting in 2022, two choreographers – this year’s are Ian Kaler and Alix Eynaudi – will continuously work with a select group of five young dancers on a TQW Halle G production for three months each year. Further training will complement the artistic practice, and artists will be embedded in TQW’s diverse programme of productions, theory lectures and body & performance practices. A hybrid artistic – and paid – training project for the dance scene in Vienna and beyond, but also a mobile network of relations, an experimental setting with a focus on the vital needs of ensemble productions: solidarity, collective experience, conviviality

==Publication==

<gallery widths="300" heights="300" perrow="7" mode=slideshow>
Image:BookletPage10.jpg| Page 10
</gallery>

mode={traditional|nolines|packed|packed-hover|packed-overlay|slideshow}

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T13:25:08Z

Paulkotal: /* Publication */

[[Category:Performance]]

''This article is still under construction.'' 

[[File:Parasol.jpeg|right|450px|border|copyright Alexi Pelekanos]]

==In short==
For their second piece, the five PARASOL participants – Alex Bailey, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker – will team up with choreographer Alix Eynaudi, sound designer Paul Kotal and musician Han-Gyeol Lie to create a speculative register of songs and dances. Evoking a crowded tableau vivant of our present time, this piece will never fully explain the origins of complex concepts, even if we might understand them (or not). Based on the idea of a library, this piece will borrow and gather words, change their meaning aimlessly and draw on the shades of their endings while it also rocks their songs and dances their undergrowth.

==Credits==
Concept '''Alix Eynaudi''' by and with '''Alex Bailey''', '''Camilla Schielin''', '''Júlia Rúbies Subirós''', '''Shahrzad Nazarpour''', '''Theresa Scheinecker''', Sound design, music compilation, montage of music '''Han-Gyeol Lie''', '''Paul Kotal''' Light design '''Krisha Piplits''' (re-visiting of the light design made for the piece Hedera helix by '''Elizabeth Ward''') Costumes '''An Breugelmans''' Digital Piano '''Kawai MP 9500''' Preproduction, music residency '''Zonkeystudios''' Production management '''Eva Holzinger / Mollusca Productions''' Production '''Tanzquartier Wien'''

==Parasol==

A dance group of TQW. Starting in 2022, two choreographers – this year’s are Ian Kaler and Alix Eynaudi – will continuously work with a select group of five young dancers on a TQW Halle G production for three months each year. Further training will complement the artistic practice, and artists will be embedded in TQW’s diverse programme of productions, theory lectures and body & performance practices. A hybrid artistic – and paid – training project for the dance scene in Vienna and beyond, but also a mobile network of relations, an experimental setting with a focus on the vital needs of ensemble productions: solidarity, collective experience, conviviality

==Publication==

<gallery widths="300" heights="300" perrow="7" mode={traditional|nolines|packed|packed-hover|packed-overlay|slideshow}>
Image:BookletPage10.jpg| Page 10
</gallery>

mode={traditional|nolines|packed|packed-hover|packed-overlay|slideshow}

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T13:24:40Z

Paulkotal: /* Publication */

[[Category:Performance]]

''This article is still under construction.'' 

[[File:Parasol.jpeg|right|450px|border|copyright Alexi Pelekanos]]

==In short==
For their second piece, the five PARASOL participants – Alex Bailey, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker – will team up with choreographer Alix Eynaudi, sound designer Paul Kotal and musician Han-Gyeol Lie to create a speculative register of songs and dances. Evoking a crowded tableau vivant of our present time, this piece will never fully explain the origins of complex concepts, even if we might understand them (or not). Based on the idea of a library, this piece will borrow and gather words, change their meaning aimlessly and draw on the shades of their endings while it also rocks their songs and dances their undergrowth.

==Credits==
Concept '''Alix Eynaudi''' by and with '''Alex Bailey''', '''Camilla Schielin''', '''Júlia Rúbies Subirós''', '''Shahrzad Nazarpour''', '''Theresa Scheinecker''', Sound design, music compilation, montage of music '''Han-Gyeol Lie''', '''Paul Kotal''' Light design '''Krisha Piplits''' (re-visiting of the light design made for the piece Hedera helix by '''Elizabeth Ward''') Costumes '''An Breugelmans''' Digital Piano '''Kawai MP 9500''' Preproduction, music residency '''Zonkeystudios''' Production management '''Eva Holzinger / Mollusca Productions''' Production '''Tanzquartier Wien'''

==Parasol==

A dance group of TQW. Starting in 2022, two choreographers – this year’s are Ian Kaler and Alix Eynaudi – will continuously work with a select group of five young dancers on a TQW Halle G production for three months each year. Further training will complement the artistic practice, and artists will be embedded in TQW’s diverse programme of productions, theory lectures and body & performance practices. A hybrid artistic – and paid – training project for the dance scene in Vienna and beyond, but also a mobile network of relations, an experimental setting with a focus on the vital needs of ensemble productions: solidarity, collective experience, conviviality

==Publication==

<gallery widths="300" heights="300" perrow="7" mode="nolines">
Image:BookletPage10.jpg| Page 10
</gallery>

mode={traditional|nolines|packed|packed-hover|packed-overlay|slideshow}

BRUNO by Alix Eynaudi

2022-12-22T13:22:58Z

Paulkotal: /* A collaborative design */

[[Category:Performance]]

''This article is still under construction.'' 

[[File:211007_BRUNO_0010.jpg|right|350px|border|''BRUNO'' by Alix Eynaudi, copyright Samuel Feldhandler]]

==In short==
==Credits==

The fellowship of BRUNO is composed of '''Hugo Le Brigand''', '''Mark Lorimer''', '''Cécile Tonizzo''', '''Alix Eynaudi''' Costumes '''An Breugelmans''' Light design '''Bruno Pocheron''' Sound design '''Paul Kotal'''

special thanks to '''Clara Amaral''', '''Samuel Feldhandler''', '''Sabina Holzer'''

production management '''mollusca productions for boîte de production'''

coproduction '''Tanzquartier Wien''', '''Kaaitheater'''

residencies '''MDT Stockholm''', '''Kunstencentrum BUDA'''

boîte de production is supported by Kulturabteilung der Stadt Wien, BMKOES / Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport, ACT OUT, einem Projekt der IG Freie Theaterarbeit, gefördert aus Mitteln des BMEIA, co-funded by the Creative Europe Programme of the European Union through Life Long Burning

thanks to '''Bears in the Park''' for the gracious gift of a floor

==Annoucement text==

BRUNO, a follow spot, an anticipation, a point of dew, an erotic assembly, a blinking dance. À cheval between languages, BRUNO an oscillation, une figure qui disparaît, the displacement of a name, a dance of lights that light and dance: the sensuality of these dances crosses fields of picnics. BRUNO, a literary dance piece, un océan d’amour, a library, a choir, a cut, a pause, un bébé. A meditation, a fling, a house-hole, a house holder, a hold-up of a house. BRUNO strips the writing away from the dance, in chains, in lights, beaming, vaping, a somber extravaganza folded into a room.

BRUNO emerges from the mist like a stranded ship, a sigh left there. It cascades away into a pause. A piece of hole. Something that doesn’t happen. A breeze of what didn’t take place. A haunting. To let ourselves be haunted, to let ourselves be singed, to sigh, together, to stop, to blow, to turn around, to be sad, together. To not do much. To step aside, to let a rumbling moment pass, to weave our thoughts against a break, to nestle inside of a break. To brake, together. To rest, to be absent from an event, together. To caress a thought. To rest, to stay there. To not worry about a flow, to do things in vain. To not write scores, protocols, to wait, to cry, to stop, to not fill, to hold back the filling, to dance next to our shoes. To open a hand and let go, to not hold back, to lighten, to tenderly support, to relieve.

BRUNO is an emanation of a piece without an end, a cloth of friendships, of loves cobbled together. Located in a recently (or perhaps never) uninhabited linguistic space, BRUNO unfurls, unfolds its over-exposures.

==A collaborative design==

<gallery widths="300" heights="300" perrow="7" mode="nolines">
File:LeFar° Nyon.jpg|Le Far°
File:Halle G, TQW.jpg|TQW
File:Le Far° 2.jpg|Le Far°
File:Speakers on tube.jpeg| Speakers on tubes
File:Inside.jpeg|Inside

File:Kaaitheater, Brussels.jpeg|Kaaitheater
File:Set up, Le Far°.jpeg|Set up, Le Far°
File: Focusing.jpeg| Focusing
</gallery>

==Concept and technical implementation==

==Software tools==

[https://github.com/gangplank-group/BRUNObyAlixEynaudi Here] you can find software tools developed for the piece.

==Technical Rider==

'''Stage'''

We bring:

Grey dance floor 12,8m wide by 12m deep, laid back to front, not taped

We need:
Truss + pipes structure

• 4 point truss, black w = 2 m x h = 2 m
• 4 x base plates, black

Black alu pipes
• 4m x 3
• 3 m x 9
• 2,5 m x 4
• 2 m x 10
• 1,5 m x 5
• 1m x 4

Clamps (Black alu or Gerüstschellen)
• fixed 90° clamps x 20
• rotating clamps x 40

'''Light'''

We need:

• 1 x 5 Kw fresnel ->1 ch @ 5 Kw
• 5 x 2 kw fresnels → 5 ch
• 25 x 1 kw fresnels → 25 ch
• 20 x Pars 64 CP62 → 20 ch
• 25 x profiles → 20 → 14 ch
• 20 x asymmetric floods → 10 ch
• 74 x 2 kw channels + 1 x 5 kw channel
• Multicores + splitters on the floor inside the structure
• Power supply for the 3 stadium lamps 1 x 63A or 1 x 32 A
• 32 A extensions for the 3 stadium lamps

color filters lee 501, lee 502, lee 708
diffusion filters R114, R132

We bring:

• 3 x Sitecom HIT 2 Kw Stadium lamps FOH right or left
• powercon connectors between lamps and ballasts
• 32A CEE connectors on the ballasts. The lamps use 2 phases each.
• PSA-631 power distribution box, that has to be positioned at the lighting control desk
• Lighting control Lanbox LCX (5 pins DMX connector)
• MIDI controllers + cables
• soundcard
• computer
• router
• USB hub
• external touchscreen

'''Sound'''

We bring:

• 15 to 20 small speakers on 5 channels (series of 3 to 4 speakers), fitted to the alu pipes by a rubber brace, connected with HiFi cables 0,75 square mm
• soundcard
• MIDI controllers
• computer
• USB hub

6 separate outputs from soundcard: 5 channels for the small speakers + 1 channels for subwoofers

We need:

• Amplifiers inside the structure, ideally with binding posts connectors for bare wires.150w 16 Ohm
• 1 subwoofer (position to be defined)
• Long sound multicore with stage box from soundcard to amps
• 6 adapters jack to XLR from soundcard to multicore

==Premiere and tour dates==

8th and 9th of October 2021 at Tanzquartier Wien

9th and 10th of March 2022 at Kaaitheater Brussels

10th and 11th of August 2022 at Le Far° Nyon

Upcoming:

Fall 2023 in Vienna (tbc)

==Texts==

''What if "Bruno", the title of Alix Eynaudi's show, referred not only to the lighting designer Bruno Pocheron, but also to another Bruno, lurking in the shadow of the show? Or in other words, if by an act of language - this post - we linked to Bruno Pocheron another genius of chiaroscuro: Giordano Bruno, tortured on a stake in 1600 for heresy? This heresy, as the philosopher Laurent de Sutter reminds us (Magic, une métaphysique du lien, Puf, 2015), consisted in likening magic to a factory of links over which religion had reserved its hold. It was ultimately for challenging religion's monopoly that Bruno was burned alive. Giordano Bruno's theory of magic is thus a theory of the rebel movement that democratizes and redistributes the capacity to bind beings. And isn't this what Alix Eynaudi proposes to us? On the stage, Alix and Bruno have gathered all the available lighting fixtures. At intervals, the Kaaitheater is plunged into the deepest darkness. The audience can hear itself breathe. This light and sound sculpture, in the shadow of which the bodies of Hugo Le Brigand, Mark Lorimer and Alix Eynaudi glide, brush against each other, meet, tumble over each other, entangle each other... in a word, unbind and rebind, is it not a form of contemporary pyre? So that the spectacular is itself staged, its necessary tool, the one that allows to "shed light on" becomes an element of decor. Neither overhanging, nor hidden, it is compacted and enthroned on stage. A kind of magic tree, a sum of arms to articulate the anti-spectacular? The choreographer becomes a "magician" in that she proposes to observe how beings can connect in other ways. Three bodies configure for us an ABC of possible ways to evolve in symbiosis, to give shape to another type of efficiency than the one praised by the reason of moderns. The stage is inhabited like a microcosm that makes us feel that it is not the individual dancers that are important but their dynamic capacity to link up.''
Creation is a matter of relationships, therefore a matter of links to be recomposed.
Not this "social link", sociological invention which tends to normalize the contingency, in the name of which the States imposed by force its opposite: "the social distanciation". The evoked link would bring us back rather to speak about "necessity" than about "society" because to create, it is never to assign to a body its place but on the contrary, to make possible new links. One can only "be" in company. "All the actors who become what they are 'in the dance of relationship' would require each other in unexpected collaborations and combinations. (...) We become together or not at all" reminds us Donna Harraway. Without any abracadabra, "Bruno" has this efficiency proper to the magic rite. Dancing and offering us a liberating post-covid pass. There are other ways of obliging each other than those shaped by command (law and/or war). There is the infinite reserve of possibilities contained in artistic practices, open to all gestures that seek to detach us from any forced "mancipation" (this Latin and archaic designation of attachment). If "Bruno" is the first name, his last name could well be "Emancipation". And we leave the room hoping that this being in relation that has appeared before our eyes has recognized us, the seated audience, as one of his own with and towards whom to "make movement".

Vincent Messen

[[BRUNO]] Factual Description by [[Jan Maertens]]

BRUNO by Alix Eynaudi

2022-12-22T13:22:36Z

Paulkotal: /* A collaborative design */

[[Category:Performance]]

''This article is still under construction.'' 

[[File:211007_BRUNO_0010.jpg|right|350px|border|''BRUNO'' by Alix Eynaudi, copyright Samuel Feldhandler]]

==In short==
==Credits==

The fellowship of BRUNO is composed of '''Hugo Le Brigand''', '''Mark Lorimer''', '''Cécile Tonizzo''', '''Alix Eynaudi''' Costumes '''An Breugelmans''' Light design '''Bruno Pocheron''' Sound design '''Paul Kotal'''

special thanks to '''Clara Amaral''', '''Samuel Feldhandler''', '''Sabina Holzer'''

production management '''mollusca productions for boîte de production'''

coproduction '''Tanzquartier Wien''', '''Kaaitheater'''

residencies '''MDT Stockholm''', '''Kunstencentrum BUDA'''

boîte de production is supported by Kulturabteilung der Stadt Wien, BMKOES / Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport, ACT OUT, einem Projekt der IG Freie Theaterarbeit, gefördert aus Mitteln des BMEIA, co-funded by the Creative Europe Programme of the European Union through Life Long Burning

thanks to '''Bears in the Park''' for the gracious gift of a floor

==Annoucement text==

BRUNO, a follow spot, an anticipation, a point of dew, an erotic assembly, a blinking dance. À cheval between languages, BRUNO an oscillation, une figure qui disparaît, the displacement of a name, a dance of lights that light and dance: the sensuality of these dances crosses fields of picnics. BRUNO, a literary dance piece, un océan d’amour, a library, a choir, a cut, a pause, un bébé. A meditation, a fling, a house-hole, a house holder, a hold-up of a house. BRUNO strips the writing away from the dance, in chains, in lights, beaming, vaping, a somber extravaganza folded into a room.

BRUNO emerges from the mist like a stranded ship, a sigh left there. It cascades away into a pause. A piece of hole. Something that doesn’t happen. A breeze of what didn’t take place. A haunting. To let ourselves be haunted, to let ourselves be singed, to sigh, together, to stop, to blow, to turn around, to be sad, together. To not do much. To step aside, to let a rumbling moment pass, to weave our thoughts against a break, to nestle inside of a break. To brake, together. To rest, to be absent from an event, together. To caress a thought. To rest, to stay there. To not worry about a flow, to do things in vain. To not write scores, protocols, to wait, to cry, to stop, to not fill, to hold back the filling, to dance next to our shoes. To open a hand and let go, to not hold back, to lighten, to tenderly support, to relieve.

BRUNO is an emanation of a piece without an end, a cloth of friendships, of loves cobbled together. Located in a recently (or perhaps never) uninhabited linguistic space, BRUNO unfurls, unfolds its over-exposures.

==A collaborative design==

<gallery widths="300" heights="300" perrow="7" mode="nolines">
File:LeFar° Nyon.jpg|Le Far°
File:Halle G, TQW.jpg|TQW
File:Le Far° 2.jpg|Le Far°
File:Speakers on tube.jpeg| Speakers on tubes
File:Inside.jpeg|Inside

File:Kaaitheater, Brussels.jpeg|Kaaitheater
File:Set up, Le Far°.jpeg|Set up, Le Far°
File: Focusing.jpeg| Focusing
</gallery>

mode="slideshow"

==Concept and technical implementation==

==Software tools==

[https://github.com/gangplank-group/BRUNObyAlixEynaudi Here] you can find software tools developed for the piece.

==Technical Rider==

'''Stage'''

We bring:

Grey dance floor 12,8m wide by 12m deep, laid back to front, not taped

We need:
Truss + pipes structure

• 4 point truss, black w = 2 m x h = 2 m
• 4 x base plates, black

Black alu pipes
• 4m x 3
• 3 m x 9
• 2,5 m x 4
• 2 m x 10
• 1,5 m x 5
• 1m x 4

Clamps (Black alu or Gerüstschellen)
• fixed 90° clamps x 20
• rotating clamps x 40

'''Light'''

We need:

• 1 x 5 Kw fresnel ->1 ch @ 5 Kw
• 5 x 2 kw fresnels → 5 ch
• 25 x 1 kw fresnels → 25 ch
• 20 x Pars 64 CP62 → 20 ch
• 25 x profiles → 20 → 14 ch
• 20 x asymmetric floods → 10 ch
• 74 x 2 kw channels + 1 x 5 kw channel
• Multicores + splitters on the floor inside the structure
• Power supply for the 3 stadium lamps 1 x 63A or 1 x 32 A
• 32 A extensions for the 3 stadium lamps

color filters lee 501, lee 502, lee 708
diffusion filters R114, R132

We bring:

• 3 x Sitecom HIT 2 Kw Stadium lamps FOH right or left
• powercon connectors between lamps and ballasts
• 32A CEE connectors on the ballasts. The lamps use 2 phases each.
• PSA-631 power distribution box, that has to be positioned at the lighting control desk
• Lighting control Lanbox LCX (5 pins DMX connector)
• MIDI controllers + cables
• soundcard
• computer
• router
• USB hub
• external touchscreen

'''Sound'''

We bring:

• 15 to 20 small speakers on 5 channels (series of 3 to 4 speakers), fitted to the alu pipes by a rubber brace, connected with HiFi cables 0,75 square mm
• soundcard
• MIDI controllers
• computer
• USB hub

6 separate outputs from soundcard: 5 channels for the small speakers + 1 channels for subwoofers

We need:

• Amplifiers inside the structure, ideally with binding posts connectors for bare wires.150w 16 Ohm
• 1 subwoofer (position to be defined)
• Long sound multicore with stage box from soundcard to amps
• 6 adapters jack to XLR from soundcard to multicore

==Premiere and tour dates==

8th and 9th of October 2021 at Tanzquartier Wien

9th and 10th of March 2022 at Kaaitheater Brussels

10th and 11th of August 2022 at Le Far° Nyon

Upcoming:

Fall 2023 in Vienna (tbc)

==Texts==

''What if "Bruno", the title of Alix Eynaudi's show, referred not only to the lighting designer Bruno Pocheron, but also to another Bruno, lurking in the shadow of the show? Or in other words, if by an act of language - this post - we linked to Bruno Pocheron another genius of chiaroscuro: Giordano Bruno, tortured on a stake in 1600 for heresy? This heresy, as the philosopher Laurent de Sutter reminds us (Magic, une métaphysique du lien, Puf, 2015), consisted in likening magic to a factory of links over which religion had reserved its hold. It was ultimately for challenging religion's monopoly that Bruno was burned alive. Giordano Bruno's theory of magic is thus a theory of the rebel movement that democratizes and redistributes the capacity to bind beings. And isn't this what Alix Eynaudi proposes to us? On the stage, Alix and Bruno have gathered all the available lighting fixtures. At intervals, the Kaaitheater is plunged into the deepest darkness. The audience can hear itself breathe. This light and sound sculpture, in the shadow of which the bodies of Hugo Le Brigand, Mark Lorimer and Alix Eynaudi glide, brush against each other, meet, tumble over each other, entangle each other... in a word, unbind and rebind, is it not a form of contemporary pyre? So that the spectacular is itself staged, its necessary tool, the one that allows to "shed light on" becomes an element of decor. Neither overhanging, nor hidden, it is compacted and enthroned on stage. A kind of magic tree, a sum of arms to articulate the anti-spectacular? The choreographer becomes a "magician" in that she proposes to observe how beings can connect in other ways. Three bodies configure for us an ABC of possible ways to evolve in symbiosis, to give shape to another type of efficiency than the one praised by the reason of moderns. The stage is inhabited like a microcosm that makes us feel that it is not the individual dancers that are important but their dynamic capacity to link up.''
Creation is a matter of relationships, therefore a matter of links to be recomposed.
Not this "social link", sociological invention which tends to normalize the contingency, in the name of which the States imposed by force its opposite: "the social distanciation". The evoked link would bring us back rather to speak about "necessity" than about "society" because to create, it is never to assign to a body its place but on the contrary, to make possible new links. One can only "be" in company. "All the actors who become what they are 'in the dance of relationship' would require each other in unexpected collaborations and combinations. (...) We become together or not at all" reminds us Donna Harraway. Without any abracadabra, "Bruno" has this efficiency proper to the magic rite. Dancing and offering us a liberating post-covid pass. There are other ways of obliging each other than those shaped by command (law and/or war). There is the infinite reserve of possibilities contained in artistic practices, open to all gestures that seek to detach us from any forced "mancipation" (this Latin and archaic designation of attachment). If "Bruno" is the first name, his last name could well be "Emancipation". And we leave the room hoping that this being in relation that has appeared before our eyes has recognized us, the seated audience, as one of his own with and towards whom to "make movement".

Vincent Messen

[[BRUNO]] Factual Description by [[Jan Maertens]]

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T13:16:15Z

Paulkotal: /* Publication */

[[Category:Performance]]

''This article is still under construction.'' 

[[File:Parasol.jpeg|right|450px|border|copyright Alexi Pelekanos]]

==In short==
For their second piece, the five PARASOL participants – Alex Bailey, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker – will team up with choreographer Alix Eynaudi, sound designer Paul Kotal and musician Han-Gyeol Lie to create a speculative register of songs and dances. Evoking a crowded tableau vivant of our present time, this piece will never fully explain the origins of complex concepts, even if we might understand them (or not). Based on the idea of a library, this piece will borrow and gather words, change their meaning aimlessly and draw on the shades of their endings while it also rocks their songs and dances their undergrowth.

==Credits==
Concept '''Alix Eynaudi''' by and with '''Alex Bailey''', '''Camilla Schielin''', '''Júlia Rúbies Subirós''', '''Shahrzad Nazarpour''', '''Theresa Scheinecker''', Sound design, music compilation, montage of music '''Han-Gyeol Lie''', '''Paul Kotal''' Light design '''Krisha Piplits''' (re-visiting of the light design made for the piece Hedera helix by '''Elizabeth Ward''') Costumes '''An Breugelmans''' Digital Piano '''Kawai MP 9500''' Preproduction, music residency '''Zonkeystudios''' Production management '''Eva Holzinger / Mollusca Productions''' Production '''Tanzquartier Wien'''

==Parasol==

A dance group of TQW. Starting in 2022, two choreographers – this year’s are Ian Kaler and Alix Eynaudi – will continuously work with a select group of five young dancers on a TQW Halle G production for three months each year. Further training will complement the artistic practice, and artists will be embedded in TQW’s diverse programme of productions, theory lectures and body & performance practices. A hybrid artistic – and paid – training project for the dance scene in Vienna and beyond, but also a mobile network of relations, an experimental setting with a focus on the vital needs of ensemble productions: solidarity, collective experience, conviviality

==Publication==

<gallery widths="300" heights="300" perrow="7" mode="nolines">
Image:BookletPage10.jpg| Page 10
</gallery>

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T13:15:22Z

Paulkotal: /* Publication */

[[Category:Performance]]

''This article is still under construction.'' 

[[File:Parasol.jpeg|right|450px|border|copyright Alexi Pelekanos]]

==In short==
For their second piece, the five PARASOL participants – Alex Bailey, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker – will team up with choreographer Alix Eynaudi, sound designer Paul Kotal and musician Han-Gyeol Lie to create a speculative register of songs and dances. Evoking a crowded tableau vivant of our present time, this piece will never fully explain the origins of complex concepts, even if we might understand them (or not). Based on the idea of a library, this piece will borrow and gather words, change their meaning aimlessly and draw on the shades of their endings while it also rocks their songs and dances their undergrowth.

==Credits==
Concept '''Alix Eynaudi''' by and with '''Alex Bailey''', '''Camilla Schielin''', '''Júlia Rúbies Subirós''', '''Shahrzad Nazarpour''', '''Theresa Scheinecker''', Sound design, music compilation, montage of music '''Han-Gyeol Lie''', '''Paul Kotal''' Light design '''Krisha Piplits''' (re-visiting of the light design made for the piece Hedera helix by '''Elizabeth Ward''') Costumes '''An Breugelmans''' Digital Piano '''Kawai MP 9500''' Preproduction, music residency '''Zonkeystudios''' Production management '''Eva Holzinger / Mollusca Productions''' Production '''Tanzquartier Wien'''

==Parasol==

A dance group of TQW. Starting in 2022, two choreographers – this year’s are Ian Kaler and Alix Eynaudi – will continuously work with a select group of five young dancers on a TQW Halle G production for three months each year. Further training will complement the artistic practice, and artists will be embedded in TQW’s diverse programme of productions, theory lectures and body & performance practices. A hybrid artistic – and paid – training project for the dance scene in Vienna and beyond, but also a mobile network of relations, an experimental setting with a focus on the vital needs of ensemble productions: solidarity, collective experience, conviviality

==Publication==

<gallery widths="300" heights="300" perrow="7" mode="nolines">
Image:BookletPage10.jpeg| Page 10
</gallery>

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T13:15:02Z

Paulkotal: /* Publication */

[[Category:Performance]]

''This article is still under construction.'' 

[[File:Parasol.jpeg|right|450px|border|copyright Alexi Pelekanos]]

==In short==
For their second piece, the five PARASOL participants – Alex Bailey, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker – will team up with choreographer Alix Eynaudi, sound designer Paul Kotal and musician Han-Gyeol Lie to create a speculative register of songs and dances. Evoking a crowded tableau vivant of our present time, this piece will never fully explain the origins of complex concepts, even if we might understand them (or not). Based on the idea of a library, this piece will borrow and gather words, change their meaning aimlessly and draw on the shades of their endings while it also rocks their songs and dances their undergrowth.

==Credits==
Concept '''Alix Eynaudi''' by and with '''Alex Bailey''', '''Camilla Schielin''', '''Júlia Rúbies Subirós''', '''Shahrzad Nazarpour''', '''Theresa Scheinecker''', Sound design, music compilation, montage of music '''Han-Gyeol Lie''', '''Paul Kotal''' Light design '''Krisha Piplits''' (re-visiting of the light design made for the piece Hedera helix by '''Elizabeth Ward''') Costumes '''An Breugelmans''' Digital Piano '''Kawai MP 9500''' Preproduction, music residency '''Zonkeystudios''' Production management '''Eva Holzinger / Mollusca Productions''' Production '''Tanzquartier Wien'''

==Parasol==

A dance group of TQW. Starting in 2022, two choreographers – this year’s are Ian Kaler and Alix Eynaudi – will continuously work with a select group of five young dancers on a TQW Halle G production for three months each year. Further training will complement the artistic practice, and artists will be embedded in TQW’s diverse programme of productions, theory lectures and body & performance practices. A hybrid artistic – and paid – training project for the dance scene in Vienna and beyond, but also a mobile network of relations, an experimental setting with a focus on the vital needs of ensemble productions: solidarity, collective experience, conviviality

==Publication==

<gallery widths="300" heights="300" perrow="7" mode="nolines">
File:BookletPage10.jpeg| Page 10
</gallery>

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T13:14:23Z

Paulkotal:

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T13:13:33Z

Paulkotal:

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T13:04:25Z

Paulkotal:

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T12:58:21Z

Paulkotal: /* Publication */

[[Category:Performance]]

''This article is still under construction.'' 

[[File:Parasol.jpeg|right|450px|border|copyright Alexi Pelekanos]]

==In short==
For their second piece, the five PARASOL participants – Alex Bailey, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker – will team up with choreographer Alix Eynaudi, sound designer Paul Kotal and musician Han-Gyeol Lie to create a speculative register of songs and dances. Evoking a crowded tableau vivant of our present time, this piece will never fully explain the origins of complex concepts, even if we might understand them (or not). Based on the idea of a library, this piece will borrow and gather words, change their meaning aimlessly and draw on the shades of their endings while it also rocks their songs and dances their undergrowth.

==Credits==
Concept '''Alix Eynaudi''' by and with '''Alex Bailey''', '''Camilla Schielin''', '''Júlia Rúbies Subirós''', '''Shahrzad Nazarpour''', '''Theresa Scheinecker''', Sound design, music compilation, montage of music '''Han-Gyeol Lie''', '''Paul Kotal''' Light design '''Krisha Piplits''' (re-visiting of the light design made for the piece Hedera helix by '''Elizabeth Ward''') Costumes '''An Breugelmans''' Digital Piano '''Kawai MP 9500''' Preproduction, music residency '''Zonkeystudios''' Production management '''Eva Holzinger / Mollusca Productions''' Production '''Tanzquartier Wien'''

==Parasol==

A dance group of TQW. Starting in 2022, two choreographers – this year’s are Ian Kaler and Alix Eynaudi – will continuously work with a select group of five young dancers on a TQW Halle G production for three months each year. Further training will complement the artistic practice, and artists will be embedded in TQW’s diverse programme of productions, theory lectures and body & performance practices. A hybrid artistic – and paid – training project for the dance scene in Vienna and beyond, but also a mobile network of relations, an experimental setting with a focus on the vital needs of ensemble productions: solidarity, collective experience, conviviality

==Publication==

<gallery widths="300" heights="300" perrow="7" mode="nolines">
File:BookletPage10.jpeg| Page 10
</gallery>

File:BookletPage10.jpg

2022-12-22T12:57:56Z

Paulkotal:

== Licensing ==
{{CC-by-sa-4.0}}

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T12:56:40Z

Paulkotal: /* Publication */

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T12:53:52Z

Paulkotal: /* Publication */

[[Category:Performance]]

''This article is still under construction.'' 

[[File:Parasol.jpeg|right|450px|border|copyright Alexi Pelekanos]]

==In short==
For their second piece, the five PARASOL participants – Alex Bailey, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker – will team up with choreographer Alix Eynaudi, sound designer Paul Kotal and musician Han-Gyeol Lie to create a speculative register of songs and dances. Evoking a crowded tableau vivant of our present time, this piece will never fully explain the origins of complex concepts, even if we might understand them (or not). Based on the idea of a library, this piece will borrow and gather words, change their meaning aimlessly and draw on the shades of their endings while it also rocks their songs and dances their undergrowth.

==Credits==
Concept '''Alix Eynaudi''' by and with '''Alex Bailey''', '''Camilla Schielin''', '''Júlia Rúbies Subirós''', '''Shahrzad Nazarpour''', '''Theresa Scheinecker''', Sound design, music compilation, montage of music '''Han-Gyeol Lie''', '''Paul Kotal''' Light design '''Krisha Piplits''' (re-visiting of the light design made for the piece Hedera helix by '''Elizabeth Ward''') Costumes '''An Breugelmans''' Digital Piano '''Kawai MP 9500''' Preproduction, music residency '''Zonkeystudios''' Production management '''Eva Holzinger / Mollusca Productions''' Production '''Tanzquartier Wien'''

==Parasol==

A dance group of TQW. Starting in 2022, two choreographers – this year’s are Ian Kaler and Alix Eynaudi – will continuously work with a select group of five young dancers on a TQW Halle G production for three months each year. Further training will complement the artistic practice, and artists will be embedded in TQW’s diverse programme of productions, theory lectures and body & performance practices. A hybrid artistic – and paid – training project for the dance scene in Vienna and beyond, but also a mobile network of relations, an experimental setting with a focus on the vital needs of ensemble productions: solidarity, collective experience, conviviality

==Publication==

<gallery widths="300" heights="300" perrow="7" mode="nolines">
File:Booklet Page 10.jpeg| Page 10
</gallery>

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T12:53:36Z

Paulkotal: /* Publication */

[[Category:Performance]]

''This article is still under construction.'' 

[[File:Parasol.jpeg|right|450px|border|copyright Alexi Pelekanos]]

==In short==
For their second piece, the five PARASOL participants – Alex Bailey, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker – will team up with choreographer Alix Eynaudi, sound designer Paul Kotal and musician Han-Gyeol Lie to create a speculative register of songs and dances. Evoking a crowded tableau vivant of our present time, this piece will never fully explain the origins of complex concepts, even if we might understand them (or not). Based on the idea of a library, this piece will borrow and gather words, change their meaning aimlessly and draw on the shades of their endings while it also rocks their songs and dances their undergrowth.

==Credits==
Concept '''Alix Eynaudi''' by and with '''Alex Bailey''', '''Camilla Schielin''', '''Júlia Rúbies Subirós''', '''Shahrzad Nazarpour''', '''Theresa Scheinecker''', Sound design, music compilation, montage of music '''Han-Gyeol Lie''', '''Paul Kotal''' Light design '''Krisha Piplits''' (re-visiting of the light design made for the piece Hedera helix by '''Elizabeth Ward''') Costumes '''An Breugelmans''' Digital Piano '''Kawai MP 9500''' Preproduction, music residency '''Zonkeystudios''' Production management '''Eva Holzinger / Mollusca Productions''' Production '''Tanzquartier Wien'''

==Parasol==

A dance group of TQW. Starting in 2022, two choreographers – this year’s are Ian Kaler and Alix Eynaudi – will continuously work with a select group of five young dancers on a TQW Halle G production for three months each year. Further training will complement the artistic practice, and artists will be embedded in TQW’s diverse programme of productions, theory lectures and body & performance practices. A hybrid artistic – and paid – training project for the dance scene in Vienna and beyond, but also a mobile network of relations, an experimental setting with a focus on the vital needs of ensemble productions: solidarity, collective experience, conviviality

==Publication==

<gallery widths="300" heights="300" perrow="7" mode="nolines">
File:Booklet Page10.jpeg| Page 10
</gallery>

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T12:52:15Z

Paulkotal: /* Publication */

[[Category:Performance]]

''This article is still under construction.'' 

[[File:Parasol.jpeg|right|450px|border|copyright Alexi Pelekanos]]

==In short==
For their second piece, the five PARASOL participants – Alex Bailey, Camilla Schielin, Júlia Rúbies Subirós, Shahrzad Nazarpour, Theresa Scheinecker – will team up with choreographer Alix Eynaudi, sound designer Paul Kotal and musician Han-Gyeol Lie to create a speculative register of songs and dances. Evoking a crowded tableau vivant of our present time, this piece will never fully explain the origins of complex concepts, even if we might understand them (or not). Based on the idea of a library, this piece will borrow and gather words, change their meaning aimlessly and draw on the shades of their endings while it also rocks their songs and dances their undergrowth.

==Credits==
Concept '''Alix Eynaudi''' by and with '''Alex Bailey''', '''Camilla Schielin''', '''Júlia Rúbies Subirós''', '''Shahrzad Nazarpour''', '''Theresa Scheinecker''', Sound design, music compilation, montage of music '''Han-Gyeol Lie''', '''Paul Kotal''' Light design '''Krisha Piplits''' (re-visiting of the light design made for the piece Hedera helix by '''Elizabeth Ward''') Costumes '''An Breugelmans''' Digital Piano '''Kawai MP 9500''' Preproduction, music residency '''Zonkeystudios''' Production management '''Eva Holzinger / Mollusca Productions''' Production '''Tanzquartier Wien'''

==Parasol==

A dance group of TQW. Starting in 2022, two choreographers – this year’s are Ian Kaler and Alix Eynaudi – will continuously work with a select group of five young dancers on a TQW Halle G production for three months each year. Further training will complement the artistic practice, and artists will be embedded in TQW’s diverse programme of productions, theory lectures and body & performance practices. A hybrid artistic – and paid – training project for the dance scene in Vienna and beyond, but also a mobile network of relations, an experimental setting with a focus on the vital needs of ensemble productions: solidarity, collective experience, conviviality

==Publication==

<gallery widths="300" heights="300" perrow="7" mode="nolines">
File:Booklet Page 10.jpeg| Page 10
</gallery>

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T12:50:42Z

Paulkotal: /* Publication */

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T12:49:29Z

Paulkotal: /* Publication */

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T12:49:05Z

Paulkotal: /* Publication */

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T12:48:01Z

Paulkotal: /* Publication */

File:Booklet Page 10.jpg

2022-12-22T12:46:46Z

Paulkotal:

== Licensing ==
{{CC-by-sa-4.0}}

File:Booklet Page 9.jpg

2022-12-22T12:46:22Z

Paulkotal:

== Licensing ==
{{CC-by-sa-4.0}}

File:Booklet Page 8.jpg

2022-12-22T12:45:59Z

Paulkotal:

== Licensing ==
{{CC-by-sa-4.0}}

File:Booklet Page 7.jpg

2022-12-22T12:45:31Z

Paulkotal:

== Licensing ==
{{CC-by-sa-4.0}}

File:Booklet Page 6.jpg

2022-12-22T12:45:08Z

Paulkotal:

== Licensing ==
{{CC-by-sa-4.0}}

File:Booklet Page 5.jpg

2022-12-22T12:44:36Z

Paulkotal:

== Licensing ==
{{CC-by-sa-4.0}}

File:Booklet Page 4.jpg

2022-12-22T12:44:14Z

Paulkotal:

== Licensing ==
{{CC-by-sa-4.0}}

File:Booklet Page 3.jpg

2022-12-22T12:43:44Z

Paulkotal:

== Licensing ==
{{CC-by-sa-4.0}}

File:Booklet Page 2.jpg

2022-12-22T12:43:11Z

Paulkotal:

== Licensing ==
{{CC-by-sa-4.0}}

File:Page 1.jpg

2022-12-22T12:34:09Z

Paulkotal:

== Licensing ==
{{CC-by-sa-4.0}}

File:Page 0.jpg

2022-12-22T12:33:35Z

Paulkotal:

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T12:21:06Z

Paulkotal:

File:Booklet-To-Sing-The-Wind.pdf

2022-12-22T12:19:56Z

Paulkotal:

== Licensing ==
{{CC-by-sa-4.0}}

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T12:14:50Z

Paulkotal: /* Parasol */

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T12:12:55Z

Paulkotal: /* Anouncment Text */

To sing the wind, pipes and bones, A Dance Choral by Alix Eynaudi

2022-12-22T12:10:57Z

Paulkotal: