The accomplices kept in the background.
The victim lay motionless and exhausted on the floor.
“And besides, everything had happened so fast,” the witnesses reported.
Some turned away, shaking their heads uncomprehendingly. Others tried to understand what had happened and what the perpetrator had thought?
She had obviously enjoyed it and was already planning the next act. A bizarre view of dance. Situated between poetry, comedy and autopsy.

The premiere of “tanztat” took place on November 13, 2004 in the series tanzhautnah at the Bürgerhaus Stollwerck, Cologne.

“tanztat” was awarded the Cologne Dance Theater Prize 2004. “The solo of Barbara Fuchs is characterized by the original and perfectly combined genre mix of danced thriller and persiflage,” was the jury’s verdict.
In addition, “tanztat” was selected for tanzstrasse 2005 by a jury of experts. This will enable three outstanding NRW artists to present their productions in the cities of Bonn, Düsseldorf, Krefeld and Cologne. And nominated for the festival Theaterzwang in 2006.

TEAM

Idea/Choreography/Dance: Barbara Fuchs
Light/Stage/Video: Marco Wehrspann
Dramaturgy: Carla de Andrade Hurst
Supervision : Koni Hanft
Costume : Sabine Kreiter
Photo : Jürgen Laubhold

Supported by the Kulturamt der Stadt Köln, the Kunststiftung NRW, the SK Stiftung Kultur, tanzhautnah and the kölner tanzagentur.

Press-Quotes

Audience as accomplice
Barbara Fuchs acts amazingly as choreographer, dancer and actress.
BY ISABELL STEINBÖCK, 17.11.04 Kölner Stadt Anzeiger

It is an astonishing performance that Fuchs achieves here as choreographer, dancer and actress.
accomplishes here. In her unusual humorous-grotesque solo piece, the artist embodies all the characters that are needed.
In her unusual humorous and grotesque solo piece, the artist embodies all the characters needed to give form to a thriller – and pulls out all the stops of her extensive repertoire of ideas. Chases are depicted with shadow and finger play, detective inspector and pathologist come on stage in pantomime, the audience is declared accomplices. The use of a video camera allows close-ups of the feet as tools of the crime and the depiction of the gasping victim’s face. In between, Barbara Fuchs repeatedly shows herself as a dancer with technique, mimic talent and comic self-irony.
One believes Barbara Fuchs when she claims she can’t help but dance. Good one would like to say, otherwise we would have missed out on a lot.