(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.
The premiere of “(S)CRAP” took place on 4. September 2009 at Barnes Crossing.
Performance, Music, Stage: Barbara Fuchs, Jörg Ritzenhoff
Technician: Marco Wehrspann, Wolfgang Wehlau
Costume: Yvonne Stammsen, Barbara Fuchs
Photo: Wolfgang Weimer
(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.”
Nicole Strecker, Kölner Stadtanzeiger
[…] They have screws and springs dancing instead of ballerinas, and if you listen carefully, then you will find music hidden deep in the noise of old radios – just the hint of a melody, an echo of life in a piece of junk equipment […]
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.”