Lake Studios Berlin

Co-founder of Two Fish (2000-2012) with Martin Clausen. Since 2009 she has also been working with Jared Gradinger, developing pieces about the topic of getting beyond the body’s borders, which tour successfully. Since 2011 she has been working with and for Margret Sara Gudjonsdottir. In addition she works and has worked with theatercombinat Vienna, Dorky Park/Constanza Macras, pictoplasma, Rahel de Joode and Jefta van Dinther among others. Beyond that she is deeply influenced by the artists Rosalind Crisp and Benoît Lachambre. At the core of her collaborations are her solo works based on intensive phases of movement research. Schubot teaches movement research and coaches at DOCH/University of Dance and Circus in Stockholm, ImPulsTanz Vienna, HZT-Berlin and SMASH Berlin.

Born in Saudi Arabia and studied philosophy at the Sorbonne in Paris. Performer, sound maker, teacher, writer, his work extends internationally, involving mostly politically engaged work and the study of strange objects. As a performer and as a maker he participates to the construction of political poems, using a hybrid technique made out of broken body practices, broken objects practices, broken sound practices. As a musician, he is using mainly diverted machines, lo-fi field recordings, feedbacks, in the spirit of experimental music (Graham Lambkin, Andrea Neumann, Kevin Drumm, Jason Lescalleet) influenced by doom, video editing techniques and older masters in the likes of Alvin Lucier, Parmegiani or Bellini.

An independent performer, dance maker and teacher, based in Berlin since 2004. In the past twelve years Maya has made works from solo to extended group pieces, collaborated with dance, music and visual artists from all over the world. She was commissioned to create pieces for state companies, independent companies and dance academies. In 2011 Maya formed The Instrument with her partner, composer / musician Roy Carroll. Since 2013 she collaborates with director Julyen Hamilton and joined his company Allen‘s Line in their last two pieces Goat Ocean and Mud Like Gold. (www.theinstrument.org)

A musician and composer, born in Dublin, living in Berlin, making recordings, compositions and performances. His work encompasses improvisation, composition, music/choreographic collaboration and practical/ experimental research, with porous borders in between. Roy‘s overarching interest is in electro-acoustic musical processes, and their physical/acoustic manifestation in performance. Recent work has focused on provoking unstable interactions between diverse electro-acoustic media, – such as transducers, actuators, amplifi ers, signal processing, feedback, psycho-acoustic / auditory phenomena.

Graduated from the Academy of Performing Arts in Bratislava (Slovakia). He works as an independent choreographer, teacher and advisor. Milan has much experience as a teacher in institutions such as SEAD – Salzburg Experimental Academy of Dance, Northern School of Contemporary Dance in Leeds (UK), Tanz Quartier Wien and Konservatorium Wien University (Austria), Grotowski Institut in Wroclaw (Poland), TIP – Freiburg, and many others. Together with his wife Zuna Kozankova, Milan is a co-founder of the Artyci Dance Company. Together they created 12 dance pieces which were presented in Slovakia and abroad. The goal of the company is to combine creative and pedagogical activities. Their current aim is to develop the Art and Education Center Pangea in the Eagle Mountains (Czech Republic). Recently Milan is collaborating with theater creators in the Polish city of Wroclaw (Studio Matejka, Song of the Goat Theatre, etc.) More information: www.artyci.com

A performer, choreographer, and teacher of contemporary dance and theater. He has had the opportunity to work with multiple choreographers, theaters, and ensembles such as: Lenka Vàgnerová & Company, Elledanse, Staatstheater Kassel, Dance Studio, Total Brutal (Nir de Volff ), Verte Dance, and Viirus Theater amongst others. In addition to performance he is dedicated to pedagogy and choreography. As a director and choreographer he has created the productions Munni, TAJ DYCH, SET UP, PRA(C)H. He is also actively involved in installations and site specific projects in cooperation with creators from different fields of art.

Works as a performer and dance teacher in Vienna. Since 2006, he has worked with groups D.ID dance-identity, Cie Cimrfraj, M.A.P. Vienna, 2nd Nature, Wienerwerk, and Two in One. He has also created his own production Breakdance Dance in 2012. In 2015 he founded the group “Maggie Palms”, together with Anna Prokopová and Costas Kekis. Their debut “Corpse of a dance piece” was screened at the festival ImageTanz. For more than 10 years he has focused on the theme “Floorwork” greatly influenced by methods such as: theFeldenkrais Method, Axis Syllabus, and Breakdance (which he trains with the Viennese crews United Minds and Undadogzz). Finding the links between contemporary dance and breakdance is the subject of his artistic and pedagogical research.

Lives between Italy and Berlin. She is a freelance dancer and performer with much experience in movement research. She graduated from the University of Bologna (Italy) at the Dams (Department of Theater, Dance, Fine Arts, Music and Cinema, Faculty of Literature and Philosophy). She studied and worked with the choreographers Anna Albertarelli (Gohatto and Vi-Kap), Simona Bertozzi, Virgilio Sieni (Director of Biennale Dance in Venice), Michele Di Stefano (MK), Sonia Brunelli (Barokthegreat), and founded the group of research CAN I with the choreographer Cristina Rizzo in 2010. She was a finalist at the Prize GD’A (Emilia Romagna) in 2011 as interpreter for the dance piece “Garage Kit” by Francesca Burzacchini. She studied Butoh Dance with the Teachers Yoshito Ohno and Atsushi Takenouchi, and practices the Martial Arts (Kung fu, Aikido). She is also a certifi ed Yoga teacher, meditation practitioner, and is part of the permanent artistic team at Lake Studios Berlin.

 As a dancer, teaching artist, and performer Ilana’s background and infl uences are based in Afro-Brazilian dance/Capoeira, release techniques, somatic practices and dance improvisation. She received her BA in dance from the University of Massachusetts-Amherst and studied contemporary and traditional dance techniques at Escola da Fundaçao de Dança in Salvador, Brazil. From 2004-2012, based in the USA, Ilana toured nationally and internationally with Brazilian choreographer Augusto Soledade/Brazzdance as a dancer, rehearsal director, and repertory teacher. In 2008 Ilana received two artistic scholarships through the State of Florida to study with choreographer Christine Brunel in Essen, Germany. Deeply inspired by their exchange Ilana moved to Berlin in 2012. Since 2013 Ilana has been part of the artistic team of the Lake Studios where she presents her own work and co-curates various performance series. Currently Ilana studies for her Masters Degree in contemporary dance education at the Hochschule für Musik, Darstellende und Kunst in Frankfurt am Main and is an awarded scholar of the Studienstiftung des deutschen Volkes.

Can there be a body that exists beyond power? A body that neither loses nor asserts its power in confrontation with the other? In „Körper ohne Macht,“ the last part of the eponymous solo trilogy, Angela Schubot embarks on journey in search of a boundless body of ‚non-power‘ and the experience of physical continuity without power. With the interplay of light, music and movement, Schubot generates a reduced but no less powerful space. At the core is a body of constant change. Its limits seem to blur, dissolve and merge with its surroundings. It can’t but open up more and more. In this ongoing transformation, the body resists any firm attributes, any definition.

Choreography, Performance: Angela Schubot | Dramaturgy: Robert Steijn | Sound: Jassem Hindi, Tian Rotteveel
Outside Eye: Sigal Zouk | Light design: Martin Beeretz | Costume design: Heidi Müller | Production/PR: björn & björn

Reflective layers of thoughts, movements, interactions; take place between two inhabitants of a concrete raft. The room is a compressed island, a window overlooking anomalies of humans and nature.

Idea and Performance: Maya M. Carroll and Roy Carroll | Dance and Voice : Maya M. Carroll | Electro-acoustic media: Roy Carroll

A dance piece without a story focused on the power of physicality. Two dancers offer their bodies and presence to investigate the purity of expression on stage. The body itself does not need to comunicate or reference another idea – it is a strong and sufficient medium on its own. The human body becomes the main character“ – discovering unusual kinetic skills and virtuosic articulations – flowing in parallel with the music to form continous images that materialize their own eloquence.

Concept and Choreography: Milan Kozánek | Co-Creators and Performers: Radoslav Piovarci, Petr Ochvat
Dramaturgy: Jano Zatko | Music: Andrej Jurkovic | Light design: Ján Cief

MINIMAL DANCE is a dance work that is built around the search for a “minimal reality”, as a physical state and a visual presence. In this work sound is an entity that echoes in the body generating a presence and a visual memory emerging from the gestures in the mechanism of the dance. What gradually emerges is a specific choreography characterized by severe gestures, impersonality and emotional detachment. Through the performer the same vibrational frequency can be experienced together with the audience, and a tension develops in the space on the surface of the beat.

Dance and Choreography: Monica Gentile

KEEP – is a performative practice between audience and dancer(s). It touches on the inherent paradox of trying to ‘keep’ any live moment – whether that moment is experienced as a physical manifestation through the dancer’s body or a visual snap shot captured by the audience’s eye. What moments are worth keeping and composing with, and how do we make those choices? The audience is invited to move in the space while observing the dancer improvising, and instructed to say ‘keep’ to any movement that aff ects them in some way. The dancer’s task is then to remember that moment as precisely as possible. After a series of ‘keeps’ have been collected the dancer then instantly composes a second solo using this material. Through this joint awareness and engagement a co-creative dancemaking process is formed. By being active within the performative constellation the audience challenges the dancer to be highly alert and in-tune. As the dancer instantly composes, refers and relates to the ‘kept’ moments, each dance becomes a unique piece – a gift for that specific audience.

Performance and Concept: Ilana Reynolds

Can there be a body that exists beyond power? A body that neither loses nor asserts its power in confrontation with the other? In „Körper ohne Macht,“ the last part of the eponymous solo trilogy, Angela Schubot embarks on journey in search of a boundless body of ‚non-power‘ and the experience of physical continuity without power. With the interplay of light, music and movement, Schubot generates a reduced but no less powerful space. At the core is a body of constant change. Its limits seem to blur, dissolve and merge with its surroundings. It can’t but open up more and more. In this ongoing transformation, the body resists any firm attributes, any definition.

​​Relationship with another presence, real-time conversations between bodies, movement and sound, are our working materials in this workshop. ayered listening between the world within us and our curiosity towards the world outside of ourselves become a boundless room we carry through our senses. In practice we will look at how we relate to ourselves and to each other through a myriad of touch, weight, proximity (physical / mental), signals and gestures, voice and silence. All these qualities draw and indicate choices we take alone and together within the dynamics of composition in present ime. Allowing questions and borders to remain open, we will look at how duets emerge and speak for singular and mutual affi nities, and the universes they create. Analogous to life‘s endless experiences, as well as diff erentiated by the nature of concentrated time and mind-frame, this work takes its fascination in relationships between people, environments, ideas and dreams. The workshop will be conducted by Maya M. Carroll and joined by her partner, musician / composer Roy Carroll.

During this workshop you will meet the three collaborators of the piece PURE: Milan, the choreographer, and the two dancers Rado and Petr. During four days we will share with you, in dialog, our three different point of views on one subject: how to look at dance movement and physical action in the pure state.

During the workshop we will submerge into a musical and physical journey. By listening to ambient and minimal music from the 90s (which influenced current techno music) we will study the perception of ourselves and our surroundings in this specific physical and emotional state. This can be experienced as a state of trance: “my own consciousness weakens or even transforms itself in order to let euphoria pervade my body on a cellular, epidermal and physic level”. The hearing of this specific kind of music, will lead to the physical manifestation of instant rhythmic figures. By listening to our inner beating we will create movement patterns, or short melodic cells, in relation to the sound patterns that will gradually transform over time and result in an obsessive repetition of schemes. From the text “Techno-Trance” by Gianfranco Salvatore: “use your own bodies as a battery creating an energy able to create extreme experiences by listening to this organized sound”

In this workshop we will study the performative practice of re-collecting, referencing, and composing used in KEEP. We will take turns as active observers to challenge each other as perfomers and from these collectively chosen actions/gestures/movements work on skills of fine-tuning and instant composition. In order to train our physical memory we will explore how physical forms resonate in the body, how movement phrasing emerges and how specific spatial relationships form. In the process there will also be space to harvest new tools, share ideas and exchange in dialogue.