CABULA6

ABOUT CABULA6

2011-12-31T00:07:00.000-08:00

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CABULA6, voted Company of the Year 2009 in Europe’s prestigious cultural magazine, Ballettanz and awarded Outstanding Artist 2010 by Austrian Ministry of Culture, is an internationally acclaimed Performance and Film company led by Artistic co-Directors, Claudia Heu and Jeremy Xido. We have presented work around Europe, the United States, South America, Asia and Africa.

Our work overwhelmingly focuses on the border between reality and fiction and the uneasy dialogue between a person’s private sense of identity and its dynamic reception in a broader social context. We search out non-traditional performance spaces that make it possible to walk this line between what is “real” and what is constructed and which can bring audience members face to face with their assumptions and expectations about who they are and with whom they live.

Our work ranges from stage pieces, to site-specific works, to films, to projects of social intervention. We are dedicated to principles of delight, humor, investigation and jolts of adrenalin.

We love to play.

UPCOMING / NEWS

CONTACT:

LINKS:

http://c6films.com

COLLABORATORS

2011-12-29T03:03:00.000-08:00

CABULA6 COLLABORATORS

(partial list)

CLAUDIA HEU Lives in Vienna, is a director, performer and teacher in the field of dance, experimental theatre and performance. She is the founder of ONNO theatre, and since 2003 together with Jeremy Xido is co-artist director of Cabula6 presenting productions all over Europe. In addition to the work in the theatre, she has spent years of her life involved in community work – from a year and a half working in a Favela on the outskirts of São Paulo, Brazil, to work in refugee camps and prisons in Austria.

JEREMY XIDO Originally from Detroit, graduated cum laude in Painting and Comparative Literature from Columbia University in New York and trained at the Actor's Studio. Since 2003 he has been the artistic co-director of the performance and film company CABULA6, voted “company of the year 2009” by Europe’s most prestigious performance magazine, Ballettanz and awarded “Outstanding Artist of the Year 2010” by the Austrian Ministry of the Arts. CABULA6 have produced and presented stage and film work all over the world. In 2006 he directed the six part CRIME EUROPE documentary series and in 2007 the documentary MACONDO about a refugee settlement on the outskirts of Vienna, in addition to several critically acclaimed short fiction films. He is known in Europe as a performance artist with a unique artistic voice and approach to stage and film, blending emotionally gripping personal stories with the larger social contexts within which they emerge. Working as a dancer, actor and filmmaker, he has performed and presented work around the world on stage, TV and in Cinema. www.jeremyxido.com

IGOR DOBRICIC studied dramaturgy at the Academy of Dramatic Arts in Belgrade, (former) Yugoslavia. Between 1995, and 1999 he worked as a dramaturge for the Belgrade International Theatre festival (BITEF). From 1999 onwards he is living and working in Amsterdam. Between 2000 and 2004 he was a student of DasArts. Till December 2008 he was holding a position of the program officer for the arts at the European Cultural Foundation. In that role he initiated ALMOSTREAL project platform (www.almostreal.org). He is regularly collaborating as a dramaturge with a number of choreographers /makers (Nicole Beutler, Diego Gil, Keren Levi, Katrina Brown, a.o). For the last four years he is teaching concept development to a students of the Amsterdam School for New Dance (SNDO). From January 2009. he is, in a role of a research fellow with the Amsterdam School of the Arts, realizing a long term research project “Table Talks”. His professional interests lies in the exploration of parameters of performative action in-between different fixed production contexts (theatre and visual arts, professional and non-professional status, individual and group work, aesthetics and ethics). ZOE KNIGHTS Born in Australia in 1975, after graduating from David Aktins Dance Studio in Sydney with honors, she continued her training and choreographic development at the Salzburg Experimental Academy of Dance. Since 2000 she began working as a performer in her own work, as well as with musician Peter Herbert and Choreographers Mia Lawrence, Krystina Lhotakova and Hubert Lepka. From 2002 –2004 she was a member of the company of Brice Leroux. Inspired by the radical formulations of Leroux and other creators,she experimenting with structure, pattern and repetition.Her recent productions,”Dreaming in Haiku” and “Death in the count of 9” have been praised for their visual and acoustic coherence, as well as their intensity and inventiveness. Knights continues to to perform with other creators, most recently Cabula6, and since 1995 she has performed as a vocalist with a capella groups and musicians. She has also appeared in various video clips for lawine torrèn productions, amongst others.

MICHAEL PINSKY is a renowned British artist whose international projects have created innovative and challenging works in galleries and public spaces. He has undertaken many residencies that explore issues which shape and influence the use of our public realm. Taking the combined roles of artist, urban planner, activist, researcher, and resident, he starts residencies and commissions without a specified agenda, working with local people and resources, allowing the physical, social and political environment to define his working methodology. He has exhibited extensively in galleries and festivals such as TATE Britain, the Saatchi Gallery, the ICA, London; BALTIC, Gateshead; Centre for Contemporary Art, Glasgow; Modern Art Oxford, Milton Keynes Gallery, Cornerhouse, Manchester; Liverpool Biennial, Archilab, Orleans; CCC, Tours; France, Armory Center of the Arts, Los Angeles and the Rotterdam International Architectural Biennial. Dr Michael Pinsky graduated from the Royal College of Art. He has given public talks for the Commission for Architecture and the Built Environment, Institute of Contemporary Art, Finnish Academy for the Arts, Best of Heritage, Dubrovnik and V2, Rotterdam. He has received numerous awards including: RSA, Art and Architecture, Arts and Business, winner, Wellcome Trust, major production award and his exhibition Pontis was shortlisted for the prestigious Gulbenkian Museums Award. www.michaelpinsky.com

EMMANUEL OBEYA Mani was born in Nigeria. He studied in England at the Arts Educational School, the Rambert School and in New York at Dance Theatre of Harlem. He then worked in London as a freelance performer, in Germany at the Heidelberg and Mannheim State Theatres and more recently with Tanztheater Wien and the Wiener Volksoper. Mani has been a member of Fabulous Beast since 2003. After Fabulous Beast’s production of Giselle, he performed with Cabula 6 Theatre Company in Austria. Mani is also the vocalist with Sofasurfers. He previously performed with Fabulous Beast in Giselle and The Bull.

MARLIES PUCHER (Production Manager) International Business Relations, MA (Austria); Cultural Management Postgraduate (Barcelona) Worked as production manager for various cultural institutions and festivals such as Steirischer Herbst Graz, Szene Salzburg, Tanzquartier Wien and Wiener Festwochen in the realm of production and realized performing arts and media projects especially within urban contexts together with Wrights & Sites (Exeter) and Waxfactory (New York). Since 2004 she is working independently for various artists and arts project in performance and film such as Hubert Lepka / Lawine Torrèn (Performance, Feature Film), Carl Plötzeneder (Documentary Fiilm Distribution), Chris Haring / Liquid Loft & Mara Mattuschka (Performance, & Experimental & Short Film) and Cabula6 (Production Feature / Documentary / Short). www.flyingbiscuits.at

ZOE KNIGHTS Born in Australia in 1975, after graduating from David Aktins Dance Studio in Sydney with honors, she continued her training and choreographic development at the Salzburg Experimental Academy of Dance. Since 2000 she began working as a performer in her own work, as well as with musician Peter Herbert and Choreographers Mia Lawrence, Krystina Lhotakova and Hubert Lepka. From 2002 –2004 she was a member of the company of Brice Leroux. Inspired by the radical formulations of Leroux and other creators,she experimenting with structure, pattern and repetition.Her recent productions,”Dreaming in Haiku” and “Death in the count of 9” have been praised for their visual and acoustic coherence, as well as their intensity and inventiveness. Knights continues to to perform with other creators, most recently Cabula6, and since 1995 she has performed as a vocalist with a capella groups and musicians. She has also appeared in various video clips for lawine torrèn productions, amongst others.

JIM BARNARD Born in London to a Brazilian mother and Australian father and trained at
the London School of Contemporary Dance, Jim Barnard has worked extensively for the last 12 years in the field of dance theater, primarily as a dancer/performer, and more recently also as a puppeteer, choreographer and composer/sound designer. His Dance/Theater/Puppet Work includes numerous projects with Cloud Chamber (Ron Bunzl), Quade and de Paiva, The Hans Hof Ensemble, The Meekers (Arthur Rosenfeld), Cabula6 (Jeremy Xido), Private thoughts in Public Places (Michael Blass), Nanine Linings, Paul Selwyn Norton, Bianca van Dillen, Beppie Blankert and The Carlson Dance Company. www.jimbarnard.com

DEBORAH AMOURA GOLDMAN Having lived in the United States and Middle East, Amoura is a specialist in the field of Oriental dance as a performer, teacher, choreograher and director. Originally trained in the U.S, she became a leading dancer and exponent of the dance art in the middle east (Israel) and Europe, where she has focused her work for two decades. Her international experience has given her a unique view on the presentation of the dance art as a cultural window. Special projects have included artistic direction, choreography and performance for Alwan al Sharq (Salam Islam festival Vienna 2002), Oriental Dance Festival (Israel Festival, Jerusalem 1990), El Jameel Dance theater (Vienna, 2005) www.amouralatif.com

AMANDA PIÑA was born in Chile and studied Physical Theatre in Santiago and Contemporary Dance in Barcelona, Salzburg and Montpellier (Ex.e.r.ce Centre Choregraphique National de Montpellier). She started creating performances for the theatre and the public space in Mexico. She is interested in the spectator and in shaping new ways of encountering both, the work in performance and the relationship with the audience. Her last work as choreographer conformed the tetralogy “Self”, “You”, “WE”, and “THEM”, shown in different venues and festivals in Europe and Latin America (Image Tanz Festival, Tanzquartier Wien, Southbank Centre London, Mousonturm Frankfurt, Kampnagel Hamburg, ImPulsTanz Fesival, Danzalborde Valparaiso, Sophiensäle Berlin and Brut Wien among others). Since 2005 she has been working in collaboration with the visual artist Daniel Zimmermann and with the creative association nadaproductions.

WALTER LAUTERER, born in 1959 in Innsbruck works as a freelancer in the fields of Architecture, Sculpture, Set Design, Dance, Performance, Direction, Installation and Video. He graduated from the Vienna School of Applied Arts where he majored in Interior Design. From 1982 - 1985 he took masterclasses in Sculpture under Professor Wander Bertoni. He participated in numerous Architecture projects in Salzburg and Vienna. In addition he worked as assistant director and performer in the production of “Combak” in the frame of the Tangentiale Budapest-Vienna. He devised a performanceobjekt for the Wiener Festwochen project “Patriarchenshaukel” and has worked extensively as a set designer for numerous performance groups including Joao Fiadeiro and CABULA6 among others.

JOHANNES KELZ, Austrian Musician, composer and Sound technician. Studied Musical Arrangement and Composition in Sweden. Songwriter and Lyricist (English and German). Since 2001 he has worked as a musician, technician, composer not to mention good friend with more than 20 colleagues who can’t get him out of their minds. He invented an innovative teaching system allowing nearly anyone in the world to play complex drum rhythms on a djembe

CHRISTIAN FREDERICKSON Violist, composer, and sound designer Christian Frederickson received his MM in viola from The Juilliard School. He is a founding member (with pianist Rachel Grimes and guitarist/bassist Jason Noble) of the critically acclaimed alternative indie-rock band Rachel’s, a collective known for utilizing a broad range of compositional styles, interfacing classical with indie/punk rock. Frederickson is also a founder of The Young Scamels with Jason Noble and Greg King; their 2010 release "Tempest" was one of WNYC New Sounds host John Schaefer's top 5 releases of the year. Frederickson has collaborated with a number of theater directors and choreographers, developing a signature style as a musical improviser and composer for the stage with SITI Company, using their technique of Viewpoints, developed by Artistic Director Anne Bogart. Additional selected credits include: The Painted Bird | Bastard (La MaMa ETC. Chor. Pavel Zustiak); The Emperor Jones (Irish Repertory Theater, Dir. Ciaran O’Reilly - 2010 Lortel Nomination for Best Sound); Antigone (SITI Co., Dir. Bogart, Dance Theater Workshop); The Tempest(Classic Stage Company, NY, Dir. Brian Kulick); The Fever Chart (The Public Theater, Dir. Jo Bonney); and Christina Olson: American Model(P.S. 122, Chor. Tamar Rogoff). www.christianfrederickson.com

TODD HOLMES is a narrative, documentary and television editor based in New York City. His first narrative experience was as an associate editor on Down to the Bone, working along side editor Malcolm Jamieson (Mad Men) for director Debra Granik (Winter's Bone). The film went on to win the directing jury prize at the 2004 Sundance Film Festival. Todd went on to edit Choking Man for director Steve Barron (Coneheads, Teenage Mutant Ninja Turtles), which premiered in competition at the 2006 Tribeca Film Festival and won "Best Film Not Playing at a Theater Near You" at the 2006 IFP Gotham Awards. More recently, Todd edited director Chris Johnson's The New Twenty, winner of Grand Jury award for Best Actress at 2008 Outfest LA, and The Normals directed by Kevin Connors. Todd's feature documentary work includes additional editing on Being Elmo: A Puppeteer's Journey, a film about the man who created the Elmo character on Sesame Street. The film won a Documentary Special Jury Prize at the 2011 Sundance Film Festival. Previously he edited Highway Courtesans for director Mystelle Brabbee, which played at over 25 festivals worldwide including the 2005 SXSW Film Festival and the 2004 International Documentary Festival Amsterdam. www.toddholmes.info

JOSEPHINE DORADO is a social entrepreneur, educator, artist, producer and skydiver. She was a Fulbright scholarship recipient and initiated the Kidz Connect program, which connects youth internationally via creative collaboration and theatrical performance in virtual worlds. Josephine also received a MacArthur Foundation award to co-found Fractor.org, which matches news with opportunities for activism. She currently teaches at the New School and is the live events producer for This Spartan Life, a talk show inside the video game Halo. Commissioned works include interdisciplinary productions for the ISEA and Romaeuropa Festivals as well as speaking engagements at SXSW, SIGGRAPH, PICNIC (Amsterdam), Queen’s University (Belfast), and London Knowledge Lab. Upcoming ventures include reACTor, a location-based mobile gaming app that connects news with social action, as well as ongoing projects in mixed reality and networked performance. Josephine’s experience ranges from theater for at-risk children to technology and design, and brings perspectives on theater-inspired collaborative methodologies as well as the issues of working within a virtual context. www.funksoup.com

Lisa Lengheimer, Studium der Pädagogik für modernen Tanz an der Konservatorium Wien Privatuniversität, Tanzquartier Wien Förderstipendium 2006/07, bmu:kk Tanzstipendium fürs Ausland 2009/10. Seit 2006 diverse Unterrichtstätigkeiten, freischaffende künstlerische und choreographische Tätigkeiten. Seit 2010 Mitarbeit am von CABULA6 initiierten Projekt LIFE ON EARTH Nachbarschaftsgarten – ein Garten für alle in Macondo.

Gabriele Martin, geboren in Wien. Ausbildung zur Maskenbildnerin bei den Vereinigten Bühnen Wien. Anschließend längere Auslandsaufenthalte in Holland, Kanada, Schweiz u. Deutschland. Rückkehr nach Österreich 2004. Tätig für Film, Fernsehen u. Theater, derzeit im Burgtheater beschäftigt.

Charlotte Miklau, geboren 1983 in Wien. 2006 zog Sie nach Berlin um eine Ausbildung zur Maskenbildnerin zu absolvieren, die Sie 2009 erfolgreich abschloss. Während und nach Ihrer Ausbildung war sie für Theater, Film und Fernsehen tätig.

Amrei Plattner, gelernte Schauspielerin und Schneidermeisterin, arbeitet auch als Regisseurin, Regieassistentin, Beleuchterin, Inspizientin, in Produktion und Kostüm, u.a. für Produktionen von Volkstheater, Scala, TAG, Theater auf Tour, Theater Drachengasse, Stadttheater Mödling, Theater Olé, Festspiele Röttingen und das Kinder und Jugendtheater Böblingen. “Hair” ist nach “Life on earth” die zweite Zusammenarbeit mit Cabula6. Außerdem ist sie Gründungsmitglied der Gruppen PimpUps(2008) sowie Ko-Di-Productions (2010).

Roland Schmidt, geboren 1980 in Zell am See, Studium der Landschaftsarchitektur, arbeitet mit ortsspezifischen Kunstprojekten, lebt zurzeit in Österreich und New York.

Dance Art Project, 15 junge Frauen ( zwischen 15 und 19 Jahren) arbeiten seit 6 Jahren unter der Leitung von Caroline Macher in verschiedenen Bereichen, wie Artistik, Clownerie, Stomp, Akrobatik und Tanz.

Laura Claire Bakmann wurde 1984 in Heidelberg geboren. 2005 absolvierte sie die Ausbildung zur Friseurin im Hause Mod´s Hair und arbeitet seither neben dem Studium an den Köpfen anderer. 2010 schloß sie ihr Studium der Publizistik und Kommunikationswissenschaft ab. Derzeit: Diplomandin der Theater- Film- und Medienwissenschaft in Wien.

Christian Dergarabedian (a.k.a Earzumba), einer der gewagtesten Musiker aus Argentinien, forschend im Bereich von sampladelia, POP, freie Improvisation, Elektro-Akustische Musik. In seiner Arbeite sind immer Humor, Meditation, Interpenetration und Chaos präsent, als Versuch Pop und experimentelle Musik miteinander zu verweben. Seine Discographie umfasst 20 Alben, die in der ganzen Welt veröffentlich wurden und ein Schatz zum Entdecken sind!
“His work makes a person listen attentively and think for a while; that means we’re in presence of excellence.” Massimo Ricci

Martin Fabini, geboren 1983 in Bratislava; lebt und arbeitet zurzeit in Wien

Anna Feldbein, Studium der Theater-, Film- und Medienwissenschaft in Wien und Lyon. Projektmitarbeit bei notfoundyet – Laia Fabre & Thomas Kasebacher, theatercombinat wien. Mitbegründerin von fiveseasons Kulturverein.

Manuel Hartmann, geboren 1981 in Graz. Studierte Experimentelle Gestaltung am Institut für Bildende Kunst und Kulturwissenschaft an der Kunstuniversität Linz. Lebt und arbeitet als freier Produzent in Wien und Linz.

Mirjam Klebel, geboren in Hallein. Tanzausbildung in Salzburg am SEAD, in New York an der TISCH Universität, beim Movement Research and Dance Space und beim TQW Wien. Zusammenarbeit mit verschiedensten ChoreografInnen z.b : Mia Lawrence, Milli Bitterli, Martin Sonderkamp, Adi Salant, Matej Kejzar Collectiv VRUM und COllectiv LISA , Lawine Torren, Magdalena Chowaniec, Georg Hobmeier und CABULA6. Seit arbeitet seit 2007 an verschiedenen neuen Formaten und Programmen, z.B. “Markier Dein Revier”, online Competition “Move Against It” und Tanzhouse Festival2010 Touring in Europa und USA. Lehre: Universität Salzburg Mozarteum, Universität New Mexico, SEAD, Profitraining im STUDIO VÄST in Göteborg.

C6 PROJECTS

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CABULA6 PROJECTS

HAIR

CABULA6 puts on HAIR - a 21st century rendition of the 1960s breakout rock musical. The City of Vienna has commissioned the award winning international performance group, CABULA6 in collaboration with Vienna Hair Salons to create a work of Art: the first official 'Vienna Wig'. In a four day around-the-clock performance, the hair from hundreds of people living in Vienna will be woven into a one-of-a-kind Vienna Wig. From the 6th - 9th July, premier hair stylists from around the city will offer free haircuts and create a wig - unlike anything ever seen before - right in front of the audiences' eyes made from the HAIR ON THEIR HEADS and transformed into a work of Art. Once made, the wig will begin to live its own life as it travels to major museums around the world. The installation begins and ends with a performance. (WUK 2011)

LIFE ON EARTH TRILOGY

about travel, storytelling and the slippery search for home. Part 1: ASI ES LA VIDA - a piece for one person. Sitting at the desk of Night Watchman, Ramon Villalobos, keeping an eye on MuseumsQuartier over the security cameras, the phone rings. On the line is the voice of a woman. She tells you to look at security camera image number one. There she is. She waves and begins to tell the life story of the man whose seat you are sitting in. Part 2: ON EARTH…is about traveling and the meeting of different worlds. More specifically, it is a piece about the stories behind traveling: the pathways that each of us take to arrive to this very moment where we are right now. How did I arrive here? How did those surrounding me arrive here? On Earth tries to make the invisible life-stories that have led up to any one moment, visible: revealing the possible connections that bind all of us who share intersecting worlds, together. It begins in a theater. Then there is a bus ride to another world. Part 3: LIFE ON EARTH - the party is over. The guests have gone home. But we’ve stayed in Macondo - the “other world”. Now that we are there, we try to make it home. We get an apartment from the Republic of Austia and a Garden Plot from an organization called BIG, and we go about carving out our life on earth in this remarkable and unusual settlement on the outskirts of Vienna. As the fantasy world of the party subsides, we begin to face reality. (UNIACC – Santiago de Chile 2007 /Tanzquartier Wien 2006/2007/2009 / Transforma - Torres Vedras 2008)

THE ANGOLA PROJECT

The Angola Project playfully straddles the worlds of performance and film-making as the audience watches a movie being constructed from fragments of film and narrative right before their eyes. Only to crumble again into disarray. Based on Jeremy Xido's true life adventures of trying to make a feature film in Angola, THE ANGOLA PROJECT takes us on a dizzying journey through the history of colonial Portugal, the Travelogues of Burton Holmes, the films of Bruce Lee and Jim Kelly, the Detroit race riots/rebellion, Berlin documentary film crews in Africa and the blood-thirsty mechanisms of international film finance. THE ANGOLA PROJECT is a funny and moving investigation into global events and the complex unexpected polycultural mash- up identities emerging in the 21st Century. (Maria Matos Theater, Lisbon / Tanzfabrik Berlin / Studentski Centar Zagreb / Kaaitheater Brussels / Scene Salzburg / ArtsAdmin London / Impulstanz Vienna)

PART I - Lisboa (2008) In 2008 Jeremy Xido arrives in Lisbon and is immediately mesmerized and bedazzled by the gas lamps that flicker on all over the city each night at sunset. For six weeks straight he wanders around at midnight and slowly a gauzy idea for a film begins to take shape around historical tidbits, horticultural facts, random encounters and a slew of interviews he makes with the vast array of people in a world where things are simply not what they appear to be.
PART II - Angola (2010) As one young woman in Lisbon explains, "Europe is Lost, the future is Angola," and Xido wants to see for himself. So in September 2009 he makes the trip to Angola to travel along the Benguela Railway and write his film script. The world proves to be way more complex and surprising than anything he could have ever imagined. Part 2 of The Angola Project is structured around a constantly evolving pitch for a feature film as the lived complexities of this World are squeezed through the brutal and unforgiving logic of international film finance.
PART III - China (2012) In Development The false promise of true origins and the slippery notion of authenticity. A parallel journey into Jeremy Xido's own physical heart and the center of the Yunnan Province, China. A confrontation with issues of mortality, the deadly-unknowable and harrowing half truths at the very heart of any Shangri-la.

CAFÉ BON BON...

is a clandestine adventure through the city. It begins in front of the refrigerator in one’s own home, and continues out into the world as an interactive audio performance/installation embedded in the city streets. Audience participants, wearing headphones, walk alone in the skin of one of four different characters that make up a set of four intersecting contemporary narratives eventually converging in a nightclub with a small stage. A show is underway. Café Bon Bon turns participants simultaneously into the protagonist, camera, and audience of their own “living film” as they physically embark on an adventure into the night. (Choreographic Center Linz, 2005/ Austrian Dance Platform 2006 / Tanzquartier Wien 2006 / Dance in the City, Salzburg 2007 / ImpulstanzFestival, Vienna 2007 / Revolutions Festival, New Mexico 2010)

CRIME : EUROPE

(Commissioned by the European Advancing Performing Arts Project - APAP) is series of 6 complimentary films ranging from 22 - 50 minutes investigating the ways in which inhabitants of 6 towns across Europe deal with a recent local criminal case that has somehow captured the public imagination. Concerned less with the "truth" of the cases, the films focus on how people try to retell the stories of what happened in an attempt to understand who they are and with whom they live. The films, focusing on cases as diverse as the murder of a homeless man in Salzburg by four teenagers to the industrial crimes of the Solvay factory in Rosignano, Italy, were filmed in Berlin, Germany / Salzburg, Austria / Rosignano Solvay, Italy / Ribamar, Portugal and Kortrijk, Belgium. Interviewing people directly or peripherally involved in the cases, government officials, people from the streets and those who have gathered their knowledge from the media, we approach the cases like five blind men describing an elephant. Advancing Performing Arts Project 2006 (Buda Arts Center – Kortrjik, Belgium / transformas – Torres Vedras, Portugal / Sommerszene – Salzburg, Austria / Tanzfabrik – Berlin, Germany / Armunia – Castiglioncello, Italy / Selesian Dance Theater – Bythom, Poland) / FIPA (Biarritz, France) /German Parliament / AIFA Denmark / Berlin Asian Pacific Film Festival / Performing Rights festival /Globians / Swedish National Television among others)

TRACE…

a unique theatrical experience with two integrated parts - An audio tour through the streets of New York 1919 and a performance in a New York theater 2008. Trace is a playful meditation on how memories and fantasies are constructed and lost. We look at the neurological phenomena that allow us to construct a "coherent" vision of the world out of the millions of bits of fragmented sensory and conceptual information we experience daily. Audio Tour: Every fifteen minutes two people set out at the same time from two different sites in the city. They walk in the footsteps of two characters from 1919. Their paths cross and diverge only to merge again, ending at the same table in a restaurant. Sign up and walk the tour led solely by a voice on a CD player. Duration: approx. 1 hour Performance: NYC, April 2008, an experimental neuroimaging chamber that allows access to the mind of a New York City bicycle messenger who underwent brain surgery after an accident in Columbus Park. We follow two doctors as they descend into the bottomless black well of the messenger\s memory - a place where nothing is as it seems, where the recent dead intermingle with past loves and where sea monsters roam the brittle ground. (Tanzquartier Wien 2003, 2004/ Austrian Cultural Forum, NYC 2004 / WienTage Bucharest, Bucharest 2004 / Salzburg Sommerszene, 2004 - Audience Award / WUK , Vienna 2005 / ARGE, Salzburg 2005 / Incult, Barcelona, 2005)

OTHER PEOPLE’S PAIN

is a multimedia performance about the way different pains – banal, chronic, traumatic – shape how we imagine ourselves and others as human. A performer, Jeremy Xido, tries to get inside a character, Ellis Defonte, a New York City video blogger, who is trying to interview the famous South African War Correspondent, Max Dros. Injured in the field, Dros, has removed himself from the world and is undergoing various forms of extreme self-medication - from pills, to alcohol, to hanging upside-down in gravity boots, to playing video games. Flying towards and fleeing from pain, the performance winds through a mixture of document and fiction, the real and virtual, between video games for sufferers of post-traumatic stress disorder and war reporters smoking and watching Val Lewton B-horror movies. (Brut Wien 2008/ Kaaistudios Brussels 2008/ Republic Salzburg 2008 / Bains::Connective Brussels 2008)

EIXAM

Meaning “swarm” in Catalan, “eixam” is a theater piece performed by two dancers and a musician. It tells the story of two scientists in the desert investigating a rare species of desert locust. As they dance a dance of suspicion, mistrust and competition around each other, they are unexpectedly overtaken and overwhelmed by a swarm of phenomenal power. Eixam is structured as a miniature conference; the encounter of two scientists engaged in the study of swarm theory and its practice. The performers don’t simply lead the spectators into a theater performance; rather they skillfully and consciously seduce them to participate in an experiment. Without noticing, the spectators are playfully transformed into a swarm and thus become part of the investigation. It is a dance comedy with a twist of Beckett and a hint of Roy Ayers. (Tanzhouse Festival, Salzburg Austria 2002 / Artist in Residence Cia Krampack, Barcelona 2003 / La Poderosa, Barcelona 2004 / Zaal 100, Amsterdam 2004 / Tanzhouse Festival, Salzburg 2004 / Tanzpool Festival, Vienna, Austria 2005 / Junge Hunde Festival, Meinigen, Germany June 2005 / INFANT festival, Novi Sad, Serbia June 2005 / WUK, Vienna, Austria July 2006)

THE ANGEL PROJECT

ANGEL CENTRAL - BOOKING AGENCY FOR CENTRAL EUROPE - will provide an angel to meet you at a convenient time and place to answer your questions and address your needs. We have an outstanding and varied group of angels on call. Each one has special knowledge and power. Tell us what you need and which angel you want and we will set up your 20 minute session. What we provide: We at Angel Central help you to ask the questions. We assist you in giving voice to your heart's desire and provide you with an Angel as the Divine's response to your request. (Tanzquartier 2004/2005/2006)

FOLLOW ME, HOLD THIS

You leave your telephone number and get a time. When the phone rings already you are behind the scenes of Mis-Guide – Mis-Guided Tours of Vienna. Because the production manager Marlies Pucher is on the line, on her way to check on the execution of the tours, to manage emergencies or to solve problems. She tells you where to meet her and you go. Wherever Marlies is at the time, you will be there too. What ever she is doing, you will watch her and help her. As an authorized follower, you will be granted access to offices, garages and kitchens. As an instant assistant you will carry out small tasks and for a short time be able to imagine what it means to do a job as a production manager. (TQW / Wienerfestwochen 2007)

THE CREEK

A fanciful ride through history and walking tour of the neighborhood of Bushwick, New York - from the early Dutch Settlers to the dismemberment of horses in the burgeoning American Chemical Industry. The tour lands the audience on a bridge ten feet above the New Town Creek - one of the most polluted waterways in North America, the contents of which by the 21st Century read like a periodic table. A collaboration between CABULA6, a neighborhood high school teacher and a flight attendant we met on the way to New York, the Creek was part of the Project, Re-Imagining Utopia. (TQW, Movement Research NY 2009)

LAST MINUTE
On this trip through the land of wishes, dreams, and Imagination, the audience enters a very unusual theater - the back of a moving transport truck. A trip. Join us. We will do our best. It depends on you. We are looking for bodies, dreams, money and life. Step on board and take a look. A theater for 3 audience members and 4 performers and a truck. (tanz_house festival, Salzburg 2001/2002, Kuta Festival, Wiesbaden 2001, Tanzpool Festival Vienna, Austria 2003, Theaterboerse, Austria 2003)

DER UNTERGANG DER TITANIC

hat stattgefunden...1912...eine Notiz für die Akten. Was bleibt, ist die Katastrophe, mit der man fertigwerden muß...die Katastrophe als Dauerzustand, und der Schatten der Titanic als die große Metapher unserer Zeit. Vielleicht ist es der Versuch, aus dem Unfassbaren, eine bürokratische Angelegenheit zu machen, mit der man umgehen kann, die man einordnen kann, über die man schließlich sprechen kann, um die Orientierung nicht zu verlieren. Es ist alles unter Kontrolle, und der Fortschritt schreitet voran. Zudem bleibt noch genügend Zeit für ein heißes Bad. Die Welt als surreales Archiv, in dem alles seinen klar definierten Platz hat: Fundstücke und seltsame Fragmente, die mit Liebe gepflegt in sterilen Gefrierbeuteln die Ewigkeit überdauern, und ihre Tragödien für die Nachwelt konservieren. Alles Definitionssache...denn in Wirklichkeit ist das Wasser nicht der Feind, sondern die bleibende Möglichkeit, die Dinge zu Wort kommen zu lassen. Eine kurze Führung in erster Reihe gefällig? (Goethe Intitut, Barcelona 2001)

THE LOVE PROJECT

There is an explosion - an accident. A traveler, having fled from a war torn country in the east, is found unconscious on the site of the new Cartago Hydroelectric Dam. Wounded, he is forced to stay. As he heals and rebuilds his strength he finds himself progressively wrapped up in a web of passions and conflicts that swim just under the surface of this beautiful country. A love story begins to emerge. This is not, however, the world he is destined to make his home. Does he leave? Does he stay? Hearts begin to break - and are pieced back together in unimaginable ways. (General Eléctrica, Barcelona 2000)

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DEATH METAL ANGOLA (feature documentary)

War ravaged and potentially the richest country in Africa, Angola is the epicenter of the African hardcore music scene. Sonia Ferreira and Wilker Flores live and breath rock and roll. They run and live in the Okutiuka orphanage in Huambo, Angola and have a dream. They are going to mount the first ever national rock concert, bringing together for the first time the best and the brightest in Angolan hardcore death metal, thrash metal and melodic death-core. (Running time: 1hr 42m)

THE ANGOLA PROJECT (feature documentary - in production)

A road movie through the new world order.

DRAMA QUEEN (short film):

A woman falls, and gets back up - transformed. In three surreal paintings-in-motion, the 'body of the Queen' is explored. What does it mean to make a big thing out of nothing? What does it mean to be suspended between frailty and power? To be in pain? To be packaged? To be a Queen? (2010)

MACONDO (short film)

Macondo is a small village once surrounded by banana plantations on the outskirts of Vienna, Austria. Named in homage to Gabriel Garcia Marquez fictional village by a Mexican political refugee and journalist who went by the nickname Toluca, Macondo is an unusual place that exists between the airport, the freeway and the imagination - shaped by memory, forgetting and the hard realities of life. (Das Kino, Salzburg 2008, FIKE festival, Evora Portugal 2008, Directors Lounge Berlin, 2009)

TRACE NAPOO (short film)

Two doctors delicately slip into the fractured mind of a New York City bicycle messenger who underwent brain surgery after an accident in Columbus Park. (2007)

MONGER’S CUT (short film)
The story of a fish monger during the final days of the Fulton Fish Market in Lower Manhattan. In the middle of a night in which everything goes wrong, he cuts himself and is rushed to the hospital. Needing to get home to his daughter, an unavoidable encounter in the emergency room makes him take pause and consider his life in a new way.

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WORKSHOPS

THE GAME (workshop)

PIRACY AND TOUR-GUIDING (workshop)

UPCOMING PROJECTS 2012

NEWS / UPDATES

2011-12-26T03:12:00.000-08:00

FOR NEWS AND UPDATES

click here for news and updates

http://c6updates.wordpress.com/

SOME PRESS

2011-11-30T02:01:00.000-08:00

some press clips

CABULA6

"Who is the Audience and who is Participant? The distinction becomes particularly fragile in the field of Performance Art. Real settings become Stage and facts are saturated with fiction. The performance group CABULA6 operates with these dynamics. CABULA6 was named after a Brazilian neighbourhood and more or less means “to skip school.” The diversity of artistic means employed by the group results in the constant development of performance and negotiation forms. Contemporary dance is only one of their many capacities. The crew reforms anew and builds itself up depending on the specific project and setting : from Filmmakers, Photographs, Architects, Urban Planners or Visual Artists. Similar to work by Rimini Protokoll, whose field of action either takes place in real life or real life is transferred to the stage, the performances of CABULA6 take place in unusual and exceptional locations - Freight Trucks, Taxis, in Busses, in Nightclubs. And consequently bus drivers and street musicians become lead protagonists." Margarete Affenzeller, Der Standard, "One Hundred Years of Solitude on the outskirts of Vienna.”

ANGOLA PROJECT

"Works such as Via Intolleranza II from Christoph Schliengensief, Matilde Monnier’s Soapéra and The Angola Project belonged to the pearls of the [Impulstanz] festival....Jeremy Xido from CABULA6 shows with his Lecture Performance that just through verbal narration with image and video support, a thrilling choreography can emerge." - Helmut Ploebst, Der Standard ␣August 2010

TRACE

"The whole tour was afascinating experience of seeing behind the contemporary surface of my city toit’s rich past… One aspect of the performancesection of Trace builds on the intriguing experience of the audio tour sectionby inviting the audience (again,via instructions heard on a personal CD player) to look around the space and atone another, listen to the ambient sounds, and speculate about what the peoplearound us are hearing and thinking and if their audio instructions are the sameor in sync with the ones we have. We wait for the performance to “begin,” but we are really beginning to dream it, not just sittingthere. And those of us who mayhave walked the audio tour that same day are probably still in its thrall. We are making theater through oursenses, and the performers will eventually slip into the somewhat real,somewhat imagined space each one of us has set out for them. In this way, the performancesection continues our experience of walking the tour which overlapped ourembodied, physical participation in the physical city with mental pictures andemotions invoked by the spoken narrative on our CD players. In this way, both sections experimentwith time, memory, and identity – flipping from one time, memory, or identityto another, collaging or overlapping, bringing one to the foreground whileanother recedes. (Sometimes we may have felt distinctly NOT of our character’stime. At other times, we may havefelt, with wonder, his or her rush of emotion.) In the performance section,two scientists (Tsuyoshi Kondo and Claudia Heu) speak to us directly,attempting to give us a lecture –demonstration about neurobiology and memoryformation and storage with the talented Jeremy Xido giving a particularlyintense, vivid, grounded performance as their research subject – a bike messengerwith a head injury. This effortspins way out of control and crashes, perhaps making the larger point that wecan only know so much about the body, mind, time, cosmos, and whatever thisthing is we persist in calling reality" - Eva Yaa Asantewaa, Critic for the VillageVoice and Dance Insider

Trace is an experience. Your senses come alive and you become aware of your perceptionsdisappearing and reappearing in your mind and body. The very moment you set foot inthe theater lobby your thoughts and feelings become a part of the narrative. Groundbreaking in its subject and form,Trace both sparks and satisfies yourcuriosity for scientific knowledge while making you laugh at every step. It is an invigorating and fascinating experiencein which your role as spectator is challenged. -Marcela Goglio, Film Programmer Lincoln Center, NY Film Society

"Anexcellent work, and I never say that lightly. It was conceptually and practically rich,something that isvery hard to find in performance work these days… Extraordinary performances… Iwas especially impressed with how they captured the actual feeling of being ascientific/medical researcher, in all its nuance. I've spent a lot of time in that arena, and rarely see itcaptured well." - ClarindaMacLow, writer for the Village Voice

EIXAM

"eixam is a miniatureconference; it is the encounter of two scientists engaged in the study of swarmtheory and its practice. JeremyXido and Jim Barnard don’t lead the spectators into a theater performance;skillfully and consciously, they seduce them to participate in an experiment. Armed with multicolored balloons, theinsectologists set the audience into motion according to a simple algorithm.And without noticing, the spectators are playfully transformed into a swarm andthus become part of the investigation. the younger of the two scientists looks for his veneratedcolleague in the desert, where he has disappeared in search of his princess, arare type of desert locust. in simple, yet spectacular spaces of illusion thetwo characters play with their subject matter, with veneration, jealousy,suspicion, obsession, their mutual responsibility and treason. like in analgorithmic play, their theory of missing leadership and an independentintelligence of the swarm becomes a real life experience in their relation to each other. they have becomean object at the mercy of the swarm. And how one thing after the other, through dialogues andfabulous choreography, simply happens is what makes eixam such a wonderfullybuoyant showpiece. less theatre than its mimetic variation, in the twilightzone between science and fraud, towards real life observation in a field ofpresent relationships." - Hubert Lekpke, Lawine_Torrèn

"Director/actor JeremyXido created a sophisticated layering of scientific theorywith raw human frailty. The brilliant performances by Xido and Jim Barnardinvited the audience literally and symbolically into a world unfolding ofphysical, dramatic, and theoretical discourse surrounding swarm theory. The audienceis confronted with the world that can be seen and examined with the world that can only be felt in thehuman experience." - MarianneM. Kim, senselabor

CAFE BON BON

"An entertaining international line-up. The desire and courage to take part in unusual situationswith a light erotic touch was asked of the audience. It takes some convincing to allow yourself to be whiskedaway alone with a performer into back rooms and hotel rooms without knowingwhat awaits you. They werebasically harmless yet extremely elegant psychological games with the deeperpurpose of breaking down the fear of intimate contact with strangers. Between it all was an excellent musicalline-up. Very innovative andentertaining." - Ingrid Feilmayer, Neues Volksblatt Linz

"CaféBon Bon is an artistically trailblazing and exceptionally discerning politicalperformance project. Contemporary theatrical practices are intertwined with a deeplyhumanistic stance that awakens present day social issues. It was absolutelyinspiring to look at your own city through the eyes of a stranger. It enabled the familiar to becomeforeign and to relativize one’s own perceptions." - Claudia Seigmann und Markus Zeindlinger, theaternyx

"How can I put down on paper the words to explain my feelings andstill make sense? To say I enjoyedit is simply stupid. To say it felt authentic is more than bloody cheek. I willnever know what it really feels like to be a 22 year-old Nigerian refugee. However, beginning a day beforethe actual event, I felt excited about the project and being a participantcalled Umar. From the moment I stuck my head in the refrigerator, I wascompletely involved. The play had started; the soft voice on the CD was my onlyguidance through the night to come. I was so involved that at times my eyemovements were happening before the voice told me to make exactly thatmovement. The first time this happened I wished there had been a secret eyefilming it for later reference. The whole night started at 7.15 when my first preparations weremade, all according to the printed paper I received the day before.It was a total mixture of intense feelings: bewilderment, excitement,anxiousness, worry, fun, and amusement. It was a great experience. I was totally participating in the action of it - in the beginning onlyas Umar – and later during the party at Cafe Bon Bon, Harmen came inand joined me. The whole experience went under my skin, deep into my guts andstirred around a while using all my senses. Great." - Harmen Tromp, linzconservatory

"Close your eyes andopen the fridge. Reach inside and fetch the first thing you're touching at." Afeature on the art to experience a journey into the life of somebody else.

"Nigger", says the teenager and elbows by. How? What? Beforeone has time to breathe, before - not being able to respond anyway - one can besure that he actually said it, he's gone. The pavement is empty. The city, sofamiliar at other times, rears menacingly. Does anybody recognize me? Doesanybody realize, that I am not the one, who I pretend to be?

The temptation oftheater-makers Claudia Heu and Jeremy Xido works. The city, through which they- in their staging of 'Café Bon Bon' - make their guests wander, is losing itsquiet peacefulness. Salzburg turns into the territory of an explorationjourney. The performance of Heu and Xido is entertaining, cryptic andchallenging. The medium of seduction is a CD-player. Through the headphones somebodyis telling their story and giving instructions to the participants, as to whatthey have to

do.

There are four charactersto choose from. They are all downtrodden and marginalized by society. Umar fromNigeria is one of them. He is living in a asylum facility. After pressing theplay-button, Umar starts to talk.

The device is turned on inone's own apartment. With the headphones on, one is cut off from the worldaround. But what we hear are not facts or details of art history such as onewould hear listening to an audioguide in a museum. The story we are listeningto is taking on its own dynamic. Details about Umar's life are creatingintensive atmospheres. One's own bathroom is turned into a shabby communal

shower in the asylumfacility, the bedroom becomes a stuffy camp.

Umar is becoming tangiblemore and more - especially when we get out on the street. Walking slowly, closeto the houses, as if one would look for shelter. A group of Japanese touriststurns into a police squad. Everday perceptions take on a new dimension.

At the end of the eveningthe participants land in a nightclub. Here - embedded into a normal clubroutine - the play continues. There is a variety show, an oriental dancer,puppets and songs in between. What belongs to the staging? Who are the peoplewho speak to me? Is the explicit offer of this beautiful woman theater orreality? And: what is real anyway?

Any difference betweenprofessionals acting and the interested public is dissolved. Does one want tocontinue playing or rather step out of the game? Should one turn into a regulartheater spectator, just sitting and watching - or does one want to intermingle?Heu and Xido are asking their audience for fantasy and courage in theirentertaining play with perception and (un)reality which was presented in theframework of the 'City of Dance' festival.

But they never forceanyone. They do not have to do it, because the tasks for the audience involvedare intensified, carefully told through the story in the headphones. Theidentification with the characters is gradually building up. First one is aloneat home. Here, participating is not difficult, because nobody's there tonotice. In an internet café one has to talk to strangers. In the club finallyone gets totally in

conflict over what one iswilling to face or handle.

The boundaries betweenreality and play are dissolved. It doesn't matter, that 'Nigger' was only heardon the CD. It has been said. In trying to see the city through the eyes of Umarfrom Nigeria, 'Nigger' really gets under the skin. What, if I am not who Ithink I am? What if I did not belong to the crowd, that is feeling allcomfortable and complacent just because of their origins, because of theireducation? The sound of churchbells outside is mingling with what is heardthrough the headphones. External signals from a world that feels it is eternal.Newspaper boys come down the street. The headline talks about asylum laws. Justa coincidence?" - BERNHARD FLIEHER, Salzburger Nachrichten28th April 2007

EIXAM

"Imagine this: you are going to see a performance and end up participating in the 4th Annual Conference on Swarm Intelligence and Self-Organizing Systems.

At the entrance a fellow-scientist tells you that your recent paper was positively received by the scientific community. Yes, a little flattering always helps.

But this is not what you expect it to be. Not so much about theory and abstract talk about exotic objects (of which later) from a safe distance…

… Oh, we are still at the airport. One of the fellow-scientists-turned-flight-attendants is announcing via the PA - something urgent. From the bar tatters of conversation - "…no, I'm out of town, can't talk … TOLD YOU BEFORE!!!… bye...".

Then you start to board a plane, take your seat, close your eyes, as you are told, open your eyes: here you are, right in the middle of a desert.

The loneliness of science in the loneliness of nowhere: here on earth we scramble for knowledge, while above, beneath, no - all around us is nothing, nothing to be known - least nothing for sure. Little tiny bits of laws woven into fences to guard off - what? - the thruth? - as Nietzsche asked: And science itself, our science—indeed, what is the significance of all science, viewed as a symptom of life? For what—worse yet, whence—all science? How now? Is the resolve to be so scientific about everything perhaps a kind of fear of, an escape from, pessimism? A subtle last resort against—truth?

Oh, how this grandiose universe of science tries to seek shelter in the frail body of one individual, how this frail mind tries to cling to this noble cosmos, amidst the burning heat, the tricky drifting sand, the thirst, the wanton hope to find his real beloved, his coveted object, to which he would surrender - and become a subject - himself. The noble cause of truth melting in the bonfire of personal obsessions, to find THE ONE: HIS locust, his love, his enemy.

This is not a world another one, driven by his lectern-instincts, lectern-ambitions, should enter unprepared. This is the real life, no academic dress rehearsal, where robes are changed, for want of changing minds. And finally, when in the middle of the night, a cloud of locusts - a mass of OBJECTS - descends upon the two, burying our siamese-twins and science servants, the one who just came here to visit, flees the cave, that gave them shelter, and leaves behind his foe, his friend, his colleague - with broken legs. He climbs the stairway to escape, the ladder to succes back home.

As one of the actors said: a show should fit into one suitcase, or into five trucks. This one fits into a suitcase, though only as far as the props are concerned. The fits of imagination this piece triggers in the spectator's mind, don't fit in anywhere. You leave disturbed - another broken dream along this path we walk: there is no truth to guide us through the night, no science to enlighten our minds nor our hearts. The heart is educated elsewhere - another desert, another swarm of locusts is waiting there." - Axel Fussi, Transculture

HAIR

Press clips and articles

LIFE ON EARTH/ MACONDO
Press clips and articles

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