A dance and music-performance of Ritzenhoff/Fuchs

(S)CRAP is the fifth collaboration between the composer Ritzenhoff and the choreographer Fuchs. With SCRAP they follow a new approach to their working relationship. The composer Ritzenhoff and the chorographer Fuchs reverse their roles: he dances and she makes music a spirited attempt in which the possibility of failure is calculated.

(S)CRAP is a dance and music intervention about the relation of sound and movement, dilettantism and virtuosity.

(S)CRAP uses analogue sound technology from the last century. Crackling vinyl records, Toy-Pianos made out of plastic or yellowed cassette recorders act as witnesses of the permanent transformation of professional standards.



Photos: © Wolfgang Weimer

(S)CRAP is with and from Jörg Ritzenhoff and Barbara Fuchs

Premier: 4th of september 2009
BARNES CROSSING, Industriestraße 170, 50733 Cologne

(S)CRAP is a tanzfuchs Produktion, coproduced by Choreografen Netzwerk BARNES CROSSING, supported by: Stadt Köln, Ministerpräsident des Landes NRW, Kunststiftung NRW, Fonds Darstellende Künste.


Thomas Linden, Kölnische Rundschau

„(S)CRAP is recommended for anyone who thinks ballet is boring. There is music, a female body from unexpected angles, and a man playfully demonstrates the male fascination for technology – there is even a choroegraphy for screws...)

(S)CRAP is a mix of choreography and performance art - full of poetic charm that never seems too kitschy because spontaneity and the fun to experiment with sound and movement lead the way. „Schrott“ has intelligence and imagination, using dance to let the world of yesterday grab you one more exciting time.


Christina-Maria Purkert, aKt 06, Kölner Theaterzeitung

(S)CRAP is an ironic performance evening, without nostalgia and sentimentality, that rejects the technology of the old avant garde without replacing it with new technology. However, the aesthetic of performance art (that in the 60s and 70s freed itself from the expected sounds, images and stage direction) is referred to in Schrott in such a way that the evening doesn’t go beyond it. But that it not what it wanted to do anyway. By making their own rules from the Danish dogma cinema, Fuchs/Ritzenhoff let us know that with the simplest technical means, the pristine moment is presented.
From this point of view, they both try to find the unknown moment before technical repeatability, despite the technical face behind technology, and also to find the technique in dance once again.
An aesthetic circular motion in which the recycling of metal is just the same. You can always find valuable raw material from scrap. And from everyday movement, choreographed stage dance.


Nicole Strecker, Kölner Stadtanzeiger

"Schrott" is a consolation for nostalgist, a dance performance for all throw-away critics. Because the Cologne composer Joerg Ritzenhoff and the choreographer Barbara Fuchs were rummaging through history and now present little jewels (a very delicate tinkling roll piano, a Braun combined radio/phonograph from the 1950s, a clanging guitar, a crackling single with ballet music from Tschaikovsky.)In an hour long performance, discarded objects are affectionately reanimated: the defective equipment elicits a noise-cracking-humming symphony. Meanwhile, Barbara Fuchs transforms the famous dying swan, a symbol for the ethereal dance of death, into a contemporary- looking wretched creature...what the ideal beauty should be, disintegrates into real pain.
… Ironic and at the same time enthusiastic, the two sceptics use objects and traditions for their own individual Trash Revue. With them, the screws and feathers are dancing instead of ballerinas and when you listen closely, you find hidden deep in the white noise of old radios, some music indeed, but only the idea of a melody, a repercussion of life in equipment ripe for the trash.