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29. januar 2022 Kl. 20:00
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How to die - Inopiné
Mia Habib
NO
Kjøp billetter
28. januar 2022 Kl. 20:00
29. januar 2022 Kl. 20:00
Sted: Studio Bergen
Kategori: Dans

(foto: Tale Hendnes)

Kanskje det slutter i stillhet. En stillhet bak stillheten. Stillheten når du er så langt inne i fjellheimen om natten at det eneste du hører er lyden av dine egne hjerteslag.

Vi står foran noe vi ennå ikke har sett for oss. Vi kan øve, vi kan forberede oss på det uventede. How to die – Inopiné er en mangeartet utforskning av økologisk sorg, kulturell panikk og følelsen av kollaps. 

Forestillingen How to die – Inopiné skaper seg selv fortløpende mens den spilles, og oppretter stadig nye forbindelser mellom kropper, rom og materialer. Det scenografiske materialet samles inn lokalt der forestillingen spilles.
 

«en vakker forestilling» (Norsk Shakespeare Tidsskrift).
"Trots mörker och apokalyps lykkas verket How to die - Inopiné väcka hopp om vår framtid" (Västerbottens-Kuriren).
"For a moment of beauty, we are all part of the same construction, a shared constellation" (Springback Magazine).
"Mia Habib er ikke redd for overdrivelsene. Like selvsikkert som hun i
regigrepet lar dansernes spasmer og headbanging utarte i det uendelige, lar hun dem ligge urørlige i stillheten så lenge at publikum blir urolige" (Dagsavisen).

 

How to die – Inopiné, har ført til en rekke ulike prosjekter som er del av samme forskningslinje: HOW omhandler kunst i offentlige rom og byutvikling med ungdom fra Groruddalen, mens KORDAN er en tre dagers stedsspesifikk trilogi i uterom. How to. A score er et partitur utviklet i samarbeid med Janne-Camilla Lyster med premiere i 2022 med seks dansekunstnere fra hele verden som også vil gjeste BIT.

How to die – Inopiné er også et bokprosjekt. I Bergen inviteres det til en workshop og et åpent arrangement samme dager som forestillingene vises. Tema er prosessene rundt og meningen i å omdanne en forestilling til en bok, og de mange uttrykk som kan avlese av forestillingen.

Les mer her: Publication Workshop & Presentation.

Kreditter

Mia Habib Productions (NO)
Concept, choreographer and dancer: Mia Habib
Concepteur and research curator: Namik Mackic
Artistic advisor and co-researcher: Steinunn Ketilsdóttir
Dancers and co-researchers: Nina Wollny, Harald Beharie, Otto Ramstad, Charlott Utzig
Sound design and co-researcher: Jassem Hindi
Lighting design and co-researcher: Ingeborg Olerud
Costume design and co-researcher: Ali Hazara Researchers: Ashkan Sepahvand, Marie Kraft
Costume consultant: Christina Lindgren
Producer: Grethe Henden / Elisabeth C. Gmeiner
Pre-production: Kira Senkpiel
International relation manager: Siri Leonardsen
Photo: Tale Hendnes
In cooperation with: Norrlandsoperan Umeå
Supported by: Arts Council Norway
Co-producers: Black Box/Oslo International Theatre Festival, Dance House Oslo, BIT Teatergarasjen Bergen, Rosendal Teater and DansiT Trondheim Collaborators: Umeå School of Architecture

bio

Mia Haugland Habib (b. 1980, Houston) is an Oslo-based dancer, performer and choreographer working at the intersection of performance, exhibitions, publications, lectures, teaching, mentoring and curating. Habib has collaborated internationally with artists such as Jassem Hindi, Guilherme Garrido, Julie Nioche, Rani Nair, Brynjar Bandlien. She danced with Carte Blanche, The Norwegian National Company of Contemporary Dance, from 2017-2018, for whom she also made a commissioned work. Habib’s work has been presented amongst other places at: LaMaMaMoves!, TBA festival, Tanz im August, Dance House Oslo, Aerowaves 2015, Black Box Theatre Oslo, BIT Teatergarasjen, Theatre Freiburg, Tanzhaus nrw Dusseldorf, Spielart Festival, Gothenborg Dance and Theatre festival, On Marche Festival Marrakech, I’TRÔTRA Festival Antananariv and CODA Oslo International Dance Festival. Habib holds an M.A in conflict resolution and mediation from Tel Aviv University and a choreography education from Oslo National Academy of the Arts. Mia Habib established Mia Habib Productions in 2004 and is supported by the Norwegian Arts Council.

Habib makes work that speaks to the major concerns of our time. She engages broad audience and local communities across social, political, and artistic spheres and in private, domestic, and public spaces. Over the last 15 years, her practice has taken her to dance houses, opera stages, galleries, public spaces, private houses, religious buildings, squats, and sites of protest and conflict around the world, including an installation on the border fence between the US and Mexico, a solo in the mountains of Iraq, a healing dance in someone’s living room, and a large-scale work for 68 people on an opera stage. Habib looks for spaces where her work can interact with different audiences and with the realities of local communities. Habib is currently working on her upcoming project “How to Die – Inopiné” premiering at the Norrlandsopera (NO) in Umeå, Sweden February 6 in 2020. The project involves artists and researchers across disciplines to interact with local communities and seeking a shared mode of articulating an intellectual response to migration, the cultural panic and ecological grief that pervade our world. A co-production with Norrlandsoperan, Umeå, Sweden, Dance House, Oslo, Norway among others. During 2020 Habib is touring her piece “ALL – a physical poem of protest”, – performing at Burgtheater, Wien and SwitchPoint, North Carolina, USA among other places.

ARTIST STATEMENT 

Everyone’s house is the headline of MHP ́s overarching mission for the next four years.

I understand theatre as a social and political space. I look for spaces where my work can interact with different audiences, local communities and realities, and engage in larger conversations beyond the work itself. My practice requires plasticity, mobility, site-sensitivity and soft borders. It is an expanding practice aiming for different people and realities to encounter each other.

The ongoing tension between mass and individual and the power of meeting, are keywords in my artistry. Both looking for the obvious and the impossible encounters in different contexts while holding a culture critical perspective on body, identity, society and dance.

In a publication about my mass-solo HEAD(S) my working partner Jassem Hindi writes: “And yet, a mass solo is also about a body that lets itself be invaded. Mia lets the crowd come to her, almost into her. Politically, socially, intimately. A high risk for a single body: to be given to an unknown crowd. To invert the laws of hospitality and of public theater: her house becomes everyone’s house, a radical operation”. This quote reflects MHP´s  practice: Everyone’s house.