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A piece with dance, voice and music
30 performers move around the stage – in search of connection, guided by the desire to be understood.
With their voices and bodies, they form constantly changing constellations and explore the dynamics of closeness and distance, give and take, harmony and dissonance.
Through songs, music and dance, they explore what it means to be among many and still feel lonely – and how we can make contact despite all the challenges.
They search for answers to the question of how and why we should carry on, even though hope is fading in an increasingly complex world.

Tickets St.Gallen
Herisau, Kollekte
Teufen, Kollekte

Close your eyes and imagine: We are sitting together at a big table. We laugh, reminisce. The smell of the sea. Everything is right. Everything makes sense.

42 is the supercomputer’s answer to the question of the meaning of life in Douglas Adam’s novel The Hitchhiker’s Guide to the Galaxy. A vague answer – even after several million years of computing time. Will we find out more? What makes life meaningful? 42 people have shared with us their very personal answers. We play them on.

Wild and poetic, loud and quiet, between dissonance and harmony, the international ensemble moves on an oversized playground where anything is possible and anything can happen.

What is really important? How do we use the short time we have left in this world? How do we make a difference? More and more fervently, we are searching for answers. No wonder – after all we have experienced in the last months! No wonder – in view of current wars and destruction! No wonder – in view of all the shocks to which our lives are exposed.

Because imagine, we wake up and everything was in vain….

We wait. And no longer know ourselves why we only hope idly that things will get better. Waiting.

NOW. Now we need to get up, leave the familiar space – the rigidity, the silence, the transit. We need visions for the future. Because we know: it can’t go on like this. What keeps us from thinking concretely and radically? And to act?

In NOW. figures, seemingly out of time, dare to sketch their ideas and visions for the world of tomorrow. Outside the already known and at the risk of being seen as dreamy and naïve.
They ask themselves: What could happen? They rethink values, they share their ideas, they sharpen the notions of what could be.

Based on the novel by James Joyce, the Panorama Dance Theater wanted to “wander” through the experiences of Leopold Blum with dancers*, actors and a musician. The narrative style is understood as an inspiration for the development of secondary cosmos, in which other times and spaces open up.
James Joyce consistently adheres to the stream of consciousness, the “stream of consciousness” and thus achieves the greatest possible proximity to the characters in his novel. Words and sentences are incomplete and themes change abruptly in the middle of a sentence. The thoughts of several people overlap, street noises or snippets of thoughts briefly penetrate consciousness, and everything blurs into a single impression. Following this narrative style, we will tell not one, but a wealth of stories…

An interdisciplinary play by Brigitte Knapp

In a meritocratic society, you can’t have any flaws; you are responsible for ensuring that life runs smoothly.
But SHE has an invisible mental illness that affects the whole person and yet shows no recognizable wounds. The appeal not to behave hysterically is obvious.

SHADWOS deals with the overtaxing of our society with the topic of depression. Almost every fifth person suffers from depression in their life, but the disease is still suppressed and marginalized by those affected and society. The text explores the tension between the visible and the invisible, between hope and fatalism, between understanding and incomprehension, and in an interplay of light and shadow describes a state for which we often lack the words.

Dialogues and text surfaces alternate – an ideal playground for the combination of spoken theatre and dance.

I’m like two shadows. Not here and not there. Like a wave in the sea.
Once it spits me over there, then there again.

GREEN GREEN GRASS OF HOME reports about homeland and loss of homeland. Three dancers and a musician become narrators who move in a constantly changing setting of realities. They give their voice to the stories of people who have been asked about their homeland.

With their bodies they go through their fractures and contradictions and set to music the question of why the concept of homeland is experiencing such a boom. Do we want to finally have our peace in a world with seemingly unlimited possibilities and know where we belong and who we are? Does a manageable space help us in which we know our way around and to which we feel we belong?

Between mountain village, global concepts of life, esape, language dilemma, traditions and the need for belonging, the realities of the interviewees move, which are the starting point for a physical, musical and picture-rich dance theatre evening.

Sometimes the performers appear as a dance group that waves in time with ¾, sometimes as a human loop station and sometimes as constructors of complex spaces. They focus on the human being and establish new artistic interpretations of what charges the concept of home with meaning.

What is there that triggers this sense of home? That’s what you’re used to seeing, the mountains are the same, the meadows are just as green as they were 20 years ago. The feeling that the whole thing will still be there when you are no longer there.

Word acrobats, movement artists and sound manufacturers travel with the épisodes culturels through Switzerland. They stop at places they can’t get past: Libraries, swimming pools, museums, forest glades, churches, factories… No place is safe from them. They are inspired by the rooms, art and history and bring along from their repertoire the most brilliant stories, most exciting songs and most frenetic dances. Dialogues arise between spaces and the arts, between artists and the public and between artists and artists, in which all are reflected, reinforced and reinvented. A fresh look at things emerges, in a different way than before.

Curious, poetic, spectacular – and always to the point.

The épisodes culturels take place in changing spaces, which do not necessarily have to have a cultural background, but may have. The audience is invited to a change of perspective by breaking up the classical stage-spectator arrangement and opening up “new cultural spaces” and arrangements. épisodes culturels thus seeks real contact and intense moments between artist and audience.

Our society. Much is written, discussed, blogged about her – and desperate about her. Heterogeneous postmodernism is a time in which everything seems possible: unlimited access to information, unlimited mobility, unlimited individualization, unlimited experiences… Previous limitations, points of reference, linear biographies, clear role models have disappeared.

We want to be everywhere and not miss anything. With the increasing number of options, uncertainty is growing to the same extent. A postmodern ‘Anything goes!’ took us by surprise and now we don’t know what to do. Total freedom creates fear of making the wrong decisions. She’s paralyzing us. We’re treading water.

The Panorama Dance Theater explores the extremes between which a whole generation seems to be torn. What are we rebelling against? Against traditions, against progressiveness, against a decline in values? Or do we want everything at once? Stay the perfect body and still be a man of pleasure? Your own family, but the freedom of being single? Ecological awareness, but still a fat SUV? Are we stuck between self-optimization and self-exploitation?

In our everyday life we are constantly surrounded by noise. The permanent noise level is already so much part of our lives that it is almost difficult for us to withstand this silence. The longer we stay at Fälensee, the more we become aware of the discrepancy between this place and our everyday life. We get involved and something changes: we perceive the silence differently, notice that it consists of much more than we were initially aware of. We hear the sound of the wind, cracking branches, the humming of flies, the splashing of water and begin to feel sounds our bodies make as part of the silence. We realize that the noise of the world often obscures our view of the essential. Our perception has already changed after a few hours in the mountains.

In the Site Specific Performance Echos the Panorama Dance Theater uses this great opportunity of the new, finer possibilities of perception. For this very special place a performance with dance, music and performance was created, which is inspired by him and reflects and contrasts him with the means of art. The landscape, its qualities and peculiarities are explored and worked with and in it. Echoes create images and stories that show and negotiate the complex relationship between us and our physical environment.

We move through space and time. Other people cross our paths. Some of these encounters seem random, fall into oblivion. Others, no less by chance, have a great influence on the progress of our path. They change direction, interweave or create disharmony. In any case, however, they change us – we emerge from them as other people.

coincidence is a sensual homage to these coincidental encounters, which, however inconspicuous they may be, have a decisive influence on our lives.

coincidences was selected for tanzfaktor 2016.

épisodes culturels is a series of events in which a group of artists from different disciplines present or reinterpret excerpts from their current work. The association with other, often foreign artists and the examination of their work should set new impulses. The artistic exchange can create new connections or set attractive contrasts. Together with the other artists, the artists develop a joint evening from the 10-15-minute episodes of their art, which gives space for the individual genres as well as spans a large arc between them. Where they inspire each other, there are overlaps and mergers. In this way, the series offers the public a diverse evening that creates new associations and access to various art forms.

The épisodes culturels take place in changing spaces, which do not necessarily have to have a cultural background, but may have. The audience is invited to a change of perspective by breaking open the classical stage-spectator arrangement and opening up new cultural spaces and arrangements. épisodes culturels thus seeks real contact and intense moments between artist and spectator.

Im Stück HOPE reflektieren wir die Situation des Individuums in der Gegenwart, in der sich Krisen in der Politik und Wirtschaft sowie Konflikte unendlich aneinanderreihen.

Krisen sind Wendepunkte, die sich durch eine Anspannung und der Lösung ebendieser Spannungen auszeichnen. Tobias Sporis Tanz stellt diese Wendepunkte in den Fokus: Auf starke Anspannungen des Körpers folgen Löseprozesse der Muskeln, um danach in Ruhephasen zu verfallen. Inspiriert durch Krumping, einem Freestyle-Tanz, entsteht eine äusserst ästhetische und kraftvolle Bewegungssprache, die als Folie für die gesellschaftspolitische Gegenwart gelesen werden kann.

It only took a moment for all the creatures to react to the wolf.  Suddenly the whole pack of animals moved at the same time, exploding in a wave of flashing bodies, like a beautiful dance.  What was a dense mass of still animals suddenly turned into a single, fleeing organism, turning to the right and to the left, flashing in silver and black like a shoal of fish through water.

We live in exciting times; old certainties dissolve and fundamental questions arise about our image of the world.  The reactions are as complex as they are disturbing: populists scream with a shrill propaganda alert, human concerns are thrown overboard and laws of the state are undermined. In view of the complex situation, some align with groups that hold extreme opinions that are legitimised by the collective.  They give simple explanations for complex situations.

In WISDOM OF THE CROWD, six dancers form a swarm that moves through constantly changing situations.  The dancers buzz, flutter and stomp through different constellations and emotions of the collective, taking the audience with them.  In the end, the question is whether the wisdom of the crowd can be used to meet the challenges of our time or whether each individual has to reposition themselves. 

Starting from the adventures of Alice in Wonderland, five dancers explore the possibilities of their dance expression anew and embark on an imaginative journey of discovery. Each dancer is assisted by a prop that helps to break up established patterns of movement. They move across a course of boxes, interacting with moving light spheres, are enclosed in an oversized ball and follow light spots that appear randomly.

It’s warm and soft in here. I’m closing my eyes. From far away I hear children laughing. I can’t help smiling. This is where I’m staying. It’s nice here… If only it weren’t for that unpleasant sound. At first I’m not sure it’s just me hearing it. It’s getting louder and shriller. I’m shivering. The ground that just carried me is suddenly hard and cold. Is it just my imagination, or has the room become smaller, the air more stuffy? The sound is swollen to a shrill scream, I can’t stand it anymore, open my eyes and – fall…

The feel-good bubble in which we have lived for many years has cracked, imploded. Are we going to bury our heads in the sand and look the other way? Or are we facing up to the challenges?

The dance performance BIG BIRD searches for the abysses beneath the surface that threatens to lull us in and faces the horror. Four dancers test extremes and ask to find balance in a world that has fallen apart. A physical, pictorial dance evening that puts everything on one card and uses intuitive knowledge of the bodies, where ordinary wisdom fails and language lures us away.