About

Tamara Pitzer

French/German dancer and visual artist

1996-2002 Studies of Fine Arts with focus on video art and experimental film at the Bauhaus-University Weimar with diploma/ Classes in Modern Dance and Butoh

1999-2000 One year long Erasmus- Studies in Barcelona at the Elisava School for Design/ Member of the theatre group Las Lenguas de Eva/ Classes in physical theatre with Jessica Walker (Laboratorio de teatro experimental in Barcelona)/ Classes in Flamenco

2001-2002 Formation in Shiatsu in Mannheim, Germany with diploma from the Institut de Shiatsu traditionnel de Paris

2002-2005 Three year long stay in Barcelona: Shiatsu- practitioner, model and author of the first documentary about life and work of four foreign artists in Barcelona (El Viejo y las Comepesadillas/ The old man and the Nightmare-Eaters).

2005- 2007 formation and workshops in the film domain, screenplays for two documentaries are written / author of the documentary Kaiser Wilhelm unter Sizilianern und Dominas, about a run-down dockland area in Mannheim, Germany.

2010 Birth of a son 

2011-2013 Formation in theatre pedagogics, Heidelberg, Germany/ one year long theatre project with handicapped people, Viernheim, Germany

2013- 2018 Formation in Butoh with the film director and dancer Masaki Iwana, Atsushi Takenouchi, Naomi Mutoh, Sabine Seume and Modern Dance and Ritual Movement with Angela Foid (both former Pina Bausch students)

Since 2014 Solo performances and performance-collaborations with other artists/ instructor of workshops and classes in Butoh and physical theatre

11/2016 Foundation of the Duo Kitsune and The Burning Violin with the musician Ruben Mesado Estrada.

2019 Formation in a trance technique, re-discovered by anthropologist Felicitas Goodman, called “Ritual Body Postures”® with the therapist and researcher Sabine Rittner in Heidelberg, Germany

 

My dance approach is mainly influenced by different Butoh artists, but also by other (movement) arts as f.ex. martial arts, Qi Gung, Modern Dance. There is no definite Butoh - style: it is possible, but not absolutely essential, to be painted in white and to dance naked. Each artist has another philosophy. Also are japanese dancers moving in a different manner than european due to other physical habits (living more close to the ground f.ex.). Furthermore dance has to be in change always as it is the case with life itself. Therefore improvisation plays a vital role, due to it´s connection to the always altering present. Trying not to apply certain fixed movement techniques, and thoughts like how the next step will look like, is a challenge, but opens the sensory capacity of letting the body be  its internal and "organic" language and express it´s "inner landscapes", atmospheres and state, from which it transforms into another. Poetic images can be transmitted throughout dance, because of it´s irrational way of communication and play with the mysterious questions of life. I am quite certain, that everybody has a bodymemory which is very old and which, maybe, dates back to the very beginning of life in the womb of the mother, and maybe even before that. This memory can be awakened by dance.

The body has to be prepared on many sensory levels, strength and flexibility, imagination and presence in order to set a base for dancing.

One of the essential characteristics of this dance is shortly described in Masaki Iwanas words:

"Lastly, it is necessary to do a training of improvisation. In order to free one's mind and body, improvisation is an absolutely necessary training. However, improvisation is not about doing whatever you want to do, like it is generally understood. Improvisation is a work of precisely choosing actions from moment to moment by preparing as many sensory and perceptive antennae as possible. In a sense, if our antennae grows more numerous as a result of training, an action that might happen by chance comes nearer to necessity (nature)."

 

 

Performances Kitsune and The Burning Violin

11/2016 s.p.e.c.i.e/ in a stairway of an old house/ Lichtmeile-Festival Mannheim, Germany

03/2017 s.p.e.c.i.e/ B-Seite Festival/Mannheim, Germany

07/2017 Fallen Diva/ White Stage tanzminiaturen, Heidelberg, Germany

11/2017 Fallen Diva II/ Lichtmeile, Mannheim, Germany

02/2018 Tristeza/ smallformatdance`18, Rettigheim, Germany

03/2018 stone_ghost/ Kunstverein Familie Montez, Frankfurt, Germany

07/2018 RYU BOKU/ Festival Freier Tanz im Delta VIII, Mannheim, Germany

12/2018 RYU BOKU/ Somatic Academy Berlin, Germany

 

Others

09/2000 En la distancia with the theatre company Las Lenguas de Eva/ Barcelona, Spain

07/2012 Sacré du printemps (Igor Strawinsky) with the dance - company Angela Foid/ Stadthalle Deidesheim, Germany

11/2014 untitled in the stairs with red dress/ Lichtmeile- Festival Mannheim, Germany

07/2016 Parallaxe with the dancer Janna Schimka and the musician Rolf Schmuck/ long durational Performance and installation, Raum S4, Mannheim, Germany

11/2016 segment:blau with Janna Schimka and Rolf Schmuck/ Opening Lichtmeile-Festival, Mannheim, Germany

05/2017 Erwachen with the dancer Piotr Tomczyk and the musician Shinichi Minami/ Japanischer Garten, Karlsruhe, Germany

10/2017 Expressivitesse with the musician David Fenech/ en chair et en son (festival Butoh et musique acousmatique), Paris, France

Since 2018 garden 185/ Performances in regular base with live musicians in a garden, Mannheim, Germany

11/2018 She-into Silence/ Church St Stephanskirche Karlsruhe, Germany