dance performance
About a session

About a session, dance performance

by Anna Konjetzky

The term session means a meeting that is limited in time. Borders and rules are established, stretched or repealed in order to make new experiences and knowledge possible. The new piece by the choreographer Anna Konjetzky, who resides in Munich, addresses the about – and sessions as such. Being distant and being involved are not a contradiction.

ABOUT A SESSION melds sensual experience and analysis, and is thus an act of contemplation about and with bodies. Can reflecting on or discussing arousal actually arouse? Can it stimulate the audience’s sexual fantasies?

How does the audience gaze at the dancers? Which movements, words and gazes stimulate? Which gazes sexualize the performing bodies? And what moments sexualize the present and observing audience members?

Just like when one surfs and googles on the internet, imagination and projections are roused. This then allows for the possibility of following a motif or drifting off. Elements of a lecture performance arise. With their bodies, the dancers explore their own relationship between desire and arousal. A voice from the outside describes the situation, also observes the audience, offers information, directions and images, lets the action continue on video, goes from there back on stage and is translated into movements by the dancers for the audience. In the audience’s minds, a number of images of desire overlap in the contradiction or the doubling of word and image. In thinking about and with the body, analysis and sensual experience intertwine.

artistic crew

choreography Anna Konjetzky

dance Sahra Huby, Quindell Orton, Maxwell McCarthy, Victor Perez Armero

video René Liebert

scene Hannes Hartmann und Leonie Mohr

dramaturgy Bastian Zimmermann

music Sergej Maingardt

project coordination Sabine Klötzer – SISK

This project is a coproduction with the Münchner Kammerspiele and is made possible by the Kulturreferat der Stadt München, the Bayerische Landesverband für zeitgenössischen Tanz (BLZT) with funds from the Bayerische Staatsministerium für Bildung und Kultur, Wissenschaft und Kunst, the Bezirk Oberbayern, the Zentrum für Kunst und Medientechnologie Karlsruhe as well as the Goethe Institut St. Petersburg.


Tanznetz: 27.01.2018, Karl-Peter Fürst
„Being distant and being involved are not a contradiction.“ I experienced that in a very similar way (…) The four of them can definitely move, and when they dance their sexy twists in unison, or all four of them solo at the same time… that’s powerful. This is amplified by Sergej Maingardt’s corresponding sound collage; in it, contact microphones on the dancing bodies integrate their movements. Thanks to her, projections and texts, action and a lecture meld into a multimedia event. A sometimes fascinating session is created with many rhythms that are interrupted at an increasing rate.
With her small but excellent group, Anna Konjetzky dared to address a subject that is usually swept under the rug; she did it by using a “session” as a protective framework that the audience was drawn into.

Süddeutsche Zeitung: 27.1.2018, Rita Argauer
Academic Intimacy
(…) She already avoids the trap of a badly acted togetherness in the piece’s structural approach. By calling it a “session”, she shifted the focus away from a finished performance; instead, she places the creation process in the foreground. (…) Anna Konjetzky included some of these Brechtian distancing tricks in her piece; it makes the audience fluctuate between declared reality and exhibited artificiality. It works very well when the dancers are already rather advanced in the way they reveal their sex movements – but their bodies are equipped with contact microphones and thus turn into pure sampling pads. Rubbing the butt and a beat resounds. A hit on the chest, the beat stops. By rubbing a leg, electronic crackles are emitted and the dancers’ bodies basically turn into masturbating cyborgs. (…)
Süddeutsche Zeitung