REDCAT Presents Diana Szeinblum's ADENTRO! 4/26-28

REDCAT, CalArts' downtown center for contemporary arts, presents Adentro!, a new dance by Argentine choreographer Diana Szeinblum Thursday, April 26 to Saturday, April 28, 2018 at 8:30 pm.

The heightened machismo that punctuates and dramatizes Argentine dances like the Zamba becomes a psycho-sexual motif in Buenos Aires-based choreographer Diana Szeinblum's newest work Adentro!

Three virtuosic performers move to the pulse of an irresistible and rhythmically dynamic sound score by Axel Krygier and Simón Díaz, as they celebrate and deconstruct the drama and intensity of Argentine movement and music forms with ferocity, nuance and humor. After a research process exploring kinetic folk material, such as tutorials, manuals, tapes and even work with a specialized master, Szeinblum and her dancers were inspired to invent choreographic combinations that give life to new forms, while experimenting with the richest aspects and attitudes of influential music and dance traditions.

Szeinblum once worked at the Folkwang Tanz Schule with Pina Bausch, Susanna Linke and other exponents of German Tanztheater. After returning from Europe, Szeinblum created her own company to develop and investigate new choreographic languages. Her objective was the communion of the different experiences of the interpreters; their search and personal work. Each individual to participate in each creation.

Szeinblum was last seen at REDCAT in 2008 with the presentation of her renowned work Alaska, which The New York Times called, "A delicious surprise... a work of impressive craft and imagination."

Artist statement about Adentro!:

If I take as a given that dancing engages every notion of the body, I could then change the title "Argentine Dances" to "Argentine Bodies". It is sometimes said that traditional dances are the peoples' soul. Therefore it might be said that the body is the soul of the peoples. How is the body the peoples dance? Is studying physically the body's movement in traditional dance a way of getting closer to the peoples? What does the body do in folk dances? How is it possible to dismantle folk wisdom? How can the known be unknown?

The research process involved the survey of kinetic folk material such as tutorials,
manuals, tapes and even a visit to a specialized dancer. Then we deconstructed that
material, we hollowed it out, disarranged it, disarticulated it and destabilized it.
Three performers/dancers set out on this physical trip to the established steps of
Argentinean dances. The scene is an in situ deconstruction aiming at making visible a
physical inner-self in order to move on to a specific body. This journey to known
materials, such as folklore, results in an unexplored body, choreographic
combinations detached from any popular dance and a new sense, different from the
traditional one. It gives rise to an unknown story and a new language.
Based on the idea of "folk wisdom" we have developed a performers' relation scenic
device". They are in an ongoing state of joint creation so the device becomes variable
and perceptive, allowing us to question the concept of "tradition" and consider it a mutuable identity.

Diana Szeinblum (Buenos Aires, Argentina, 1964) is a dancer, performer and choreographer. As a dancer, Szeinblum trained at San Martín Theatre and joined the Theatre's Ballet directed by Oscar Araiz. Then she travelled to the United States where she studied the works of Jennifer Muller, Janette Paneta, Alwin Nikolais and Twyla Tharp. In 1990 the Goethe Institute granted her a scholarship to study at Folkwang Tanz Schule in Germany, where she became part of the FTS Company directed by Pina Bausch and danced pieces by Pina Bausch, Susanne Linke, Urs Dietrich, Rainer Bear and others.

Szeinblum's work has been shown in DTW (New York, US), Yokohama Dance Festival
(Japan), Red Cat (Los Angeles, US), On the Boards (Seattle, US), Arts International
Festival (Singapore), Walker Art Centre (Minneapolis, US), PS 21 (Austin, US),
Biennale de la Danse de Lyon (Lyon, France), FIBA (Buenos Aires, Argentina), Cadiz
Festival (Cadiz, Spain), Danza a Mil (Chile), Mostra SESC de Artes (Sao Paulo, Brazil),
Casa de las Américas (Mexico), Rencontres chorégraphiques internationales de Seine-
Saint-Denis (Paris, France), PICA (Portland, US), Valladolid Festival (Valladolid, Spain),
San Sebastián Festival (San Sebastián, Spain), Escena Contemporánea (Madrid, Spain),
Festival Movimiento Sur (Valparaíso, Chile), Museum of Contemporary Art Chicago
(Chicago, US), FIDEBA Buenos Aires, II Contemporary Dance Meeting (Quito,
Ecuador). Institutions such as Prodanza, the National Endowment for the Arts, the
Portland Institute of Contemporary Art, Buenos Aires Patronage and the National
Performance Network have supported her work.

As an actress she has trained with Augusto Fernández and participated in theatre
pieces and films. Her last performance as an actress was "Yo te vi caer" (2014) written
by Santiago Loza and directed by Maricel Álvarez.

Szeinblum has received the Coca Cola Award as Best Female Contemporary Dancer
(1987), the Trinidad Guevara Award as Best New Female Artist for "Secreto y Malibú"
(2000), the Trinidad Guevara Award for "At the golden hour" (2002), the Teatro XXI
Award for "Secreto y Malibú" and "At the golden hour" (2002), and the Teatro del
Mundo Award for "Alaska" (2007). The National Performance Network chose "Alaska"
as the Latin American show on tour of the year (2007).

CREDITS
Devised and directed by: Diana Szeinblum
Choreography: Diana Szeinblum, Pablo Castronovo, Bárbara Hang, Andrés Molina.
Performers: Pablo Castronovo, Bárbara Hang, Andrés Molina
Music: Axel Krygier, Simon Diaz
Lights: Gonzalo Córdoba
Running time: 50 minutes

ADENTRO! Was commissioned by Tres Danzas Argentinas program curated by Diana
Theocaridis and premiered at Teatro La Ribera, Buenos Aires, in November 2016.

REDCAT, CalArts' downtown center for contemporary arts, presents Adentro!, the latest acclaimed production by award-winning Argentinian choreographer Diana Szeinblum Thursday, April 26 to Saturday, April 28, 2018 at 8:30 pm.

The heightened machismo that punctuates and dramatizes Argentine dances like the Zamba becomes a psycho-sexual motif in Buenos Aires-based choreographer Diana Szeinblum's newest work Adentro!

Three virtuosic performers move to the pulse of an irresistible and rhythmically dynamic sound score by Axel Krygier and Simón Díaz, as they celebrate and deconstruct the drama and intensity of Argentine movement and music forms with ferocity, nuance and humor. After a research process exploring kinetic folk material, such as tutorials, manuals, tapes and even work with a specialized master, Szeinblum and her dancers were inspired to invent choreographic combinations that give life to new forms, while experimenting with the richest aspects and attitudes of influential music and dance traditions.

Szeinblum once worked at the Folkwang Tanz Schule with Pina Bausch, Susanna Linke and other exponents of German Tanztheater. After returning from Europe, Szeinblum created her own company to develop and investigate new choreographic languages. Her objective was the communion of the different experiences of the interpreters; their search and personal work. Each individual to participate in each creation.

Szeinblum was last seen at REDCAT in 2008 with the presentation of her renowned work Alaska, which The New York Times called, "A delicious surprise... a work of impressive craft and imagination."

Artist statement about Adentro!:

If I take as a given that dancing engages every notion of the body, I could then change the title "Argentine Dances" to "Argentine Bodies". It is sometimes said that traditional dances are the peoples' soul. Therefore it might be said that the body is the soul of the peoples. How is the body the peoples dance? Is studying physically the body's movement in traditional dance a way of getting closer to the peoples? What does the body do in folk dances? How is it possible to dismantle folk wisdom? How can the known be unknown?

The research process involved the survey of kinetic folk material such as tutorials,
manuals, tapes and even a visit to a specialized dancer. Then we deconstructed that
material, we hollowed it out, disarranged it, disarticulated it and destabilized it.
Three performers/dancers set out on this physical trip to the established steps of
Argentinean dances. The scene is an in situ deconstruction aiming at making visible a
physical inner-self in order to move on to a specific body. This journey to known
materials, such as folklore, results in an unexplored body, choreographic
combinations detached from any popular dance and a new sense, different from the
traditional one. It gives rise to an unknown story and a new language.
Based on the idea of "folk wisdom" we have developed a performers' relation scenic
device". They are in an ongoing state of joint creation so the device becomes variable
and perceptive, allowing us to question the concept of "tradition" and consider it a mutuable identity.

BIO
Diana Szeinblum (Buenos Aires, Argentina, 1964) is a dancer, performer and choreographer. As a dancer, Szeinblum trained at San Martín Theatre and joined the Theatre's Ballet directed by Oscar Araiz. Then she travelled to the United States where she studied the works of Jennifer Muller, Janette Paneta, Alwin Nikolais and Twyla Tharp. In 1990 the Goethe Institute granted her a scholarship to study at Folkwang Tanz Schule in Germany, where she became part of the FTS Company directed by Pina Bausch and danced pieces by Pina Bausch, Susanne Linke, Urs Dietrich, Rainer Bear and others.

Szeinblum's work has been shown in DTW (New York, US), Yokohama Dance Festival
(Japan), Red Cat (Los Angeles, US), On the Boards (Seattle, US), Arts International
Festival (Singapore), Walker Art Centre (Minneapolis, US), PS 21 (Austin, US),
Biennale de la Danse de Lyon (Lyon, France), FIBA (Buenos Aires, Argentina), Cadiz
Festival (Cadiz, Spain), Danza a Mil (Chile), Mostra SESC de Artes (Sao Paulo, Brazil),
Casa de las Américas (Mexico), Rencontres chorégraphiques internationales de Seine-
Saint-Denis (Paris, France), PICA (Portland, US), Valladolid Festival (Valladolid, Spain),
San Sebastián Festival (San Sebastián, Spain), Escena Contemporánea (Madrid, Spain),
Festival Movimiento Sur (Valparaíso, Chile), Museum of Contemporary Art Chicago
(Chicago, US), FIDEBA Buenos Aires, II Contemporary Dance Meeting (Quito,
Ecuador). Institutions such as Prodanza, the National Endowment for the Arts, the
Portland Institute of Contemporary Art, Buenos Aires Patronage and the National
Performance Network have supported her work.

As an actress she has trained with Augusto Fernández and participated in theatre
pieces and films. Her last performance as an actress was "Yo te vi caer" (2014) written
by Santiago Loza and directed by Maricel Álvarez.

Szeinblum has received the Coca Cola Award as Best Female Contemporary Dancer
(1987), the Trinidad Guevara Award as Best New Female Artist for "Secreto y Malibú"
(2000), the Trinidad Guevara Award for "At the golden hour" (2002), the Teatro XXI
Award for "Secreto y Malibú" and "At the golden hour" (2002), and the Teatro del
Mundo Award for "Alaska" (2007). The National Performance Network chose "Alaska"
as the Latin American show on tour of the year (2007).

CREDITS
Devised and directed by: Diana Szeinblum
Choreography: Diana Szeinblum, Pablo Castronovo, Bárbara Hang, Andrés Molina.
Performers: Pablo Castronovo, Bárbara Hang, Andrés Molina
Music: Axel Krygier, Simon Diaz
Lights: Gonzalo Córdoba
Running time: 50 minutes

ADENTRO! Was commissioned by Tres Danzas Argentinas program curated by Diana
Theocaridis and premiered at Teatro La Ribera, Buenos Aires, in November 2016.

ABOUT REDCAT | THE ROY AND EDNA DISNEY/CALARTS THEATER
REDCAT, CalArts' downtown center for contemporary arts, is a multidisciplinary center for innovative visual, performing and media arts founded by CalArts in the Walt Disney concert Hall complex in downtown Los Angeles. Through performances, exhibitions, screenings and literary events, REDCAT introduces diverse audiences, students and artists to the most influential developments in the arts from around the world, and gives artists in this region the creative support they need to achieve national and international stature. REDCAT continues the tradition of the California Institute of the Arts, its parent organization, by encouraging experimentation, discovery and lively civic discourse.

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