gdeo 2007-2008
  project team
  process of creation
  press
  sponsors
  pictures / video
  further korean events
  calendar
   
  voilà ! 2005-2008
  contact 1ère étape 2004
  2 men & 1 cello 2003
  madame monsieur 2002
  2 men & 1 cello 2002
  madame monsieur 2000
  2 men & 1 cello 1999-01
  madame monsieur 1998
 
 
 

GDEO - Process of creation


No definitive English equivalent exists for the Korean expression "gdeo, gdeo" (which could also be written "kureyo" or "gūreyoo"). On one level it stresses the speaker's agreement: "As you say", "All right" or "Yes, I agree" rendering the expression in a literal sense. However, with a slightly different intonation, the apparent affirmative is frequently used to mask a doubt. Hence "gdeo" serves everyday diplomacy in Korea in that, in agreeing, one signals that one has in reality a completely different opinion. This area of conflict between affirmation and negation, between agreement and rejection forms the basis of this Swiss-Korean dance theatre.

This implementation time includes the realization phase of a project that can already fall back on the experiences of a rich, intercultural cooperation amongst the participating artists. The two dancers Philippe Olza and James Jeon completed a joint work phase together with the dramatist Andrea Novicov (Compagnie Angledange, Lausanne) in 2007. Performances have already taken place in front of audiences in Seoul, as well as in further cities (Mokpo, Busan, Choon-Chun, Daejeon and Gwacheon). This series of performances was organized locally by the Seoul Ballet Theatre. The director and film maker Paulo dos Santos (Portugal/Switzerland) and the dancer and choreographer Zoltįn Dani (Hungary) have been involved in the work process since 2008. The fine artists Sakgayo Jun Ho Won (visual counselor), Bo-Wha Song (costumes), Frank Hinzmann (lighting design) and Jong-Tae Moon (lighting) are also collaborating in GDEO.

The musician Hans Koch and Philippe Olza are falling back on the experiences from their first cooperation for the piece "VOILĄ!". In Koch's studio in Biel, they are establishing a dialogical composition process. Elements of Korean and European music are the basis for Koch's composition. The composer uses both musical traditions and alienates them with the aim of creating a poetic musical space of its own. In parts, the music reflects the contrary and chaotic conditions of intercultural encounters.
 
     
     
     
top of the page