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Frank Schmid, Kulturradio RBB, March 29th, 2014:
“This work is about producing film- and theater realities, about technique and craft, about how emotions are produced for an audience. And it is about a different approach to narrative, an approach which is not linear, but modular, narrating in component parts, which could result in a whole.”
Lisa Skwirblies - Excerpt from "LOOKING AGAIN TO SEE, 2014 - some notes on what i think i have seen"
Glotz nicht so romantisch: Brecht is back Vol. II
" (...) Of course, I ended up watching Imitation of Life. Seeing the movie after having seen Hanna’s fascinating translation of it for the medium of choreography, made me realize how valuable Brecht’s idea of the gestus is for an intersection of choreographic practice and critical theory. In her practice of isolating certain gestures, sentences, and movements, Hanna has developed a tool that allows (with regard to critique) what the movie cannot deliver. While the movie tries to offer a critical view on social injustice of the 1950s in America, it remains very much a product of its own time and hence of the 1950’s structural racism and sexism. In other words, while the movie rather re-inscribes certain stereotypes that it aimed to criticize, Hanna’s translation for the stage dismantles both: the general techniques of normalising effects rendering the performativity of gender and race invisible and the very specific techniques of the movie used in representing gender, class, and race relations. (...) "
“This work is about producing film- and theater realities, about technique and craft, about how emotions are produced for an audience. And it is about a different approach to narrative, an approach which is not linear, but modular, narrating in component parts, which could result in a whole.”
Lisa Skwirblies - Excerpt from "LOOKING AGAIN TO SEE, 2014 - some notes on what i think i have seen"
Glotz nicht so romantisch: Brecht is back Vol. II
" (...) Of course, I ended up watching Imitation of Life. Seeing the movie after having seen Hanna’s fascinating translation of it for the medium of choreography, made me realize how valuable Brecht’s idea of the gestus is for an intersection of choreographic practice and critical theory. In her practice of isolating certain gestures, sentences, and movements, Hanna has developed a tool that allows (with regard to critique) what the movie cannot deliver. While the movie tries to offer a critical view on social injustice of the 1950s in America, it remains very much a product of its own time and hence of the 1950’s structural racism and sexism. In other words, while the movie rather re-inscribes certain stereotypes that it aimed to criticize, Hanna’s translation for the stage dismantles both: the general techniques of normalising effects rendering the performativity of gender and race invisible and the very specific techniques of the movie used in representing gender, class, and race relations. (...) "
