HEUTE IST MORGEN (TODAY IS TOMORROW)

With the Today is tomorrow series, ballet director Igor Zelensky initiated a format to offer an attractive platform to contemporary dance positions and young choreographers. The performances in the Prinzregententheater are very popular with the audience and show the broad spectrum of artistic signatures with which ballet is created today. Narrative, abstract, improvised, classical and performance art elements are used and show the direction in which ballet could develop in the future.

GENERATION GOLDFISH
The fish nature translates entirely into the dancers' bodies in Charlotte Edmonds' choreography. Feet and hands transform into fins, the body is caught by currents and the swarm intelligence lets the group act both synchronously and individually. The electronic music by Katya Richardson plays acoustically with air bubbles and water movements and partly even approaches a possible fish language. The attention motif, for which Charlotte Edmonds has intensively worked with the research of the neuroscientist Crawford Winlove, runs through the whole piece in the movements, the gestures, the lights and the set design. The goldfish-dancers represent a neuronal structure that is sometimes more active and then again in a state of twilight. The audience's attention is captured by the choreographic structure, which draws a dynamic and playful course.
 

DAY TWO (TAG ZWEI)
In his first choreography for the Bayerisches Staatsballett entitled  Day Two (Tag Zwei), Özkan Ayik deals with the human experience of continuity. The six dancers move to a sound collage with music by the Canadian electronic musician Loscil. The flowing character of the music allows Ayik to deal freely with the given musical structure. The choreographer has developed a very dynamic sequence of movements that mark the continuous by constantly creating new overall situations from individual gestures, positions and steps: "The fact that life goes on the next morning sometimes surprises me because I know that one day there will be no "day two". This is why the title of my choreography also expresses a hope and a confidence, but with a reflective component, because we have no idea what awaits us in the future. There is no failure, there is only trying, the continuous flow, ongoing, again and again."


OTHELLO
Emil Faski's version of Othello is characterised by a retrospective narrative structure. In his piece, the choreographer thematises how people go over past events in their heads, travelling back in time to deal with decisions once made. Should I have acted differently? Where did I take a wrong turn? Emil Faski has made these motifs the basis of his work for the Bayerisches Staatsballett: "I think that people ask themselves such questions in order to justify mistakes, that is a quite normal process. Looking back at past events is a psychological mechanism that allows us to travel into the past to find the cause of mistakes. This process takes only seconds. In the performance, I want to allow the audience to walk with the title character through the corners of his mind, to feel his emotions and relive what happened. This is my ballet. Othello."