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Shamanic Group Ritual at Everness Festival

3. July 2016, 8.30-10.30 am
http://everness.hu/en

Birth of an elf

Butoh Performance with Christian Noll
Moondance Party
Place: Fishing Hut Sontra. 31.10.2014., 9.30pm
Thanks for donations.

Poster: GeburteinerElfe
http://intaktverein.de/aktuell/

I am full with her

Performance for the opening of "Red Earth".
Plastiken und photos of Senegal from Bärbel Hartwig
A journey with drum and voice to the myths which have inspired some of the plastics. The lower photo shows Ninsun, the wild cow, the mother of Gilgamesch. The epic was the main source of inpiration for the performance.

Evas Arche, Berlin, 13.09.2012

Impro concert with Roland Grater during his project "Music Marathon"

Roland Grater and me have met during his project and have improvised without previous discussions for 36,5 min. and an encore of 3,65 min. Further information: www.musikmarathon.com

Concept: Roland Grater
Organisation: Julia Vitalis
Musicians: Roland Grater (cello, Voice & other instruments), Julia Vitalis (drum, voice & other instruments)

Basiskulturfabrik Neustrelitz, 23.12.2011

Impro-Session Teatr Academia Warsaw

A wild, partly earbattering session for 21/2 hours of excellent musicians, some of them for the first time playing together. Two dancers burnt out themselves enthusiastically and two members of the audience spontaneously decided to join in.

Organization: Andrzej Rejman
Musicians: Andrzej Rejman (keyboard), Julia Vitalis (vocals) and 12 other musicians and dancers.

Teatr Academia, Warsaw, 21.8.2011

Video: Fabian Schütze/ Tobias Schütze

My music is a boat

Video: Tobias Schütze, Fabian Schütze
Idea and Script: Ute Kneisel, Julia Vitalis, Fabian Schuetze
Performer: Julia Vitalis

Song produced by Alexander Nefzger & performed by Ute Kneisel (voc, lyrics), Daniella Grimm (violin), Ines Perschy (git, drums), Manfred Fau (Bass), Alexander Nefzger (Keys) & Hans Wagner (Cello)

Thanks to Andreas Bischof for a lot of help and Ute Kneisel for beautiful pictures and sketches and Viola, Gust and Christina for costumes.

Berlin/Leipzig, 2011

Butoh flashmob honoring Kazuo Ohno

A flashmob took part in the main station of Berlin on the 27th of October, the 104th birthday of Kazuo Ohnos, one of the two founders of the Japanese Butoh dance. A similar happening took place in many of the metropolises around the world at the same time. A flashmob is a new form of action, that is mainly used for political goals. Organized via mobile phones and the Internet, everyone is responsible for his and her own actions. There was no choreography or agreements about the event, besides that we brought flowers with us, because Kazuo Ohno was using them sometimes at his performances. The participants knew each other only to some extent. For me, that was a magic moment, in which all of that thousand silent social rules in the public were suspended, in favor of silence, poetry and tender encounter. Ten minutes, a piece of liberated time.

Berlin main station, 27th of October 2010, 4 pm

Becoming forest

A philosophical-poetical dialog between a virtual tree and a virtual "Me" composes the text-foundation for this performance. The approach of maneuvering past intellect leads to a childish airy-fairy dialog, that often leaves open who's actually speaking. Both beings talk about differences and similarities of their respective experience, and dispute topics as economically justified hierarchies between men and plants, the experience of illness, the change of seasons, the loss respectively the connection to their rhythms, socially required hyperactivity and the possibility to fly.

Costume: Thrud Kaulmann-Trosien
Concept, Text, Voice: Julia Vitalis
Sound: illute
Camera: Olivia Wiederkehr

le jardin rouge, Zürich, 30.7.2010

Enduring Perception #1

On the 31th May this year, Marina Abramovic finished the following performance: For three months she was sitting 7 ½ hours a day during the openings hours of the MOMA in New York on a table. Visitor could spent time sitting in front of her. In a Stern-Interview she quoted: "I have to deal with my body like a soldier, have to train it, administer a special diet to it to endure the performance."

Enduring Perception # 1 and # 2 are my answer to the to the tradition of durational performances which focus among other aspects on the exploitation of the human body. The performer usually demonstrates his persistent will to discipline his body or how to cross his limits, sometimes culminating in self-destructive actions. I want to question this by making breaks when breaks are necessary and thwart the result of exhaustion because there is no exhaustion - in the contrary. The aim of all actions is to enhance the awareness of the body and create a setting of pleasure, sensualism and relaxation.

During the first part on the 4th June, I touched my body for three hours. The second part will happen through the opening times of the gallery on the 2nd July where I do all kind of things which contribute to the well-being of the body and serve its basic needs. On both days, the audience is invited to join in and note down their feelings and thoughts of what they have experienced and observed.

turn berlin gallery, Berlin, 4.6. und 2.7.2010, see above

© Camera: Servet Gürbüz - Editing: Michael Northam

Hokuro (Sachiyo Honda, Sabri Meddeb, Michael Northam) & Julia Vitalis: Music and Dance Improvisation

A night with many other live-acts (Barbara Massacchi, Werner Durand et al.)

Costume: Barbara Massacchi

Kindl-Brauerei/ Coaching Gallery, Berlin, 27.11.2009

Curious Fish

Curious Fish was premiere showing at San Francisco Butoh festival in 2001 and got 5 star rating at Edinburgh fringe festival in the summer.

"This dance piece was inspired by MINAMATA disease/mercury poisoning. At that period in Japan faced to many kind of serious environmental crisis by the too much high economic growth. We were in the heavy tragedy especially we saw lots , lots of strange fish in the rivers and sea. So cats, dogs, chicken danced DEATH DANCE because they ate the fish and human, also. My fragmental dance pieces "Curious Fish" were the requiem for the spirits who couldn't become human and the life have been erased before come to this world. However I don't want to lost the HOPE."

Choreography/ Dance: Katsura Kan
Ensemble: Katleen Wilson, Sonja Heller, Yannick Mochila, Alaya Stoffer Hjorth, Bettina Mainz, Nicoletta Brandi, Joame Christian, Julia Vitalis

Brotfabrik, Berlin, 24.6.-25.6.2009

nothing in between

In the open air, a group of people find themselves fenced inside a square. Trespassing the barrier is forbidden but no one is aware of the consequences. Thus begins a three-part scenario of control and the various reactions from the individuals within the group. Can a person who is capable of autonomy allow their self the luxury of being self-indulgent and conforming? 'nothing in between' is a performance about subversive experimenting and straightness in an increasingly confining social spiral.

Text/ Voice: Julia Vitalis
Technic/ Sounddesign: Gary Dee
Camera: Moritz Springer
Editing: Maija Rönkkö

100 Grad, Sophiensäle Gästewohnung, Berlin, 21.2.09

Improvisation artists meet for a blind date

Improvisation artists of different backgrounds met each other and the audience twice for a blind date without knowing each other nor having exercised together before. An anarchistic experiment, at which the roles partly changed completely at the end. The spectators did not stop and the artists watched them, while the dust smothered everybody in.

Idea: Dovrat ana Meron
Organisation: Julia Vitalis
Artists: Fabien Chas, Dovrat ana Meron, Sonja Heller, Nicola Harder, Julia Vitalis, Lady Gaby, Particia Woltmann, Maria Norefors and the audience.

Kunstraum Art-Uhr, Berlin, 7. and 9.11.08

Modamorphosis

A maniac shopping woman breaks down in her run for the last bargain. Irreparable damage seems to be implicated because she is unable to relate to any of the objects falling out of her many bags. Bras, razors, lipsticks mutate into aliens in her hands seemingly have lost their function and start turning against her. A performance about the absurdity of the overabundance of products, the creative management with this fact and the discovery of dignity and stability in the general madness.

With friendly support of Kulturnetzwerk Neukölln, Franziska Hoheisel and the Cafe Silver Future
Photography: Angela Ankner

Night and Fog, Old Post Office, Berlin, 1.11.08

Tender Plaster

The title cannot be translated into English. It is a word-play of a German saying which expresses that an area is shaped by violence and severe social problems. Thus, the title tries to express the opposite. The project was an experiment about the daily "normal" conditions and about the (in)sufferableness of weakness. It started with a participative part when I questioned the participants about vulnerability. I assembled the original contributions together for an installation. For the period of the performance, I occupied the pulic space and declared it a symbolic utopian zone of vulnerability and weakness. The utopian aspect is the idea of a society whose members have become sensitive for their own and their members weakness and who care for everybody feeling good in equal measure at home as en route.

Translation of the participants` contributions shown here:
When I feel good, everyone gives me space. When I feel bad, they see right through me.

...But when I step outside, the trees become the trees (die baumen) and all is changed. It is difficult to have a war between my thoughts and voice, but everyday has a new possibility to make peace between them, so that i can be with you.

I would like to have a porous skin which both protects and strengthens me. Such as 'gortex', but open on both sides.

Red. Green. Red. Green. Red. I am always standing at the traffic lights-too weak and too slow to cross the street.

I wish that, like the dandelion that grows despite the cobblestones, hardened feelings, which so many carry, may become tender.

All want love, but nobody says - afraid of the consequences? Let us assume soÂ…and just do it anyway letting hard things go.

With friendly support of Genezareth and the Christophorus Church of Berlin and the project Stadtteilmütter Neukölln

Photography: Birgit Haase
Camera & Editing: Freja Bäckman

48h Neukölln, Schillerpromende, Berlin, 22.6.08

Out of mind

For half an hour I develop an authentic cycle of aggression. In the process, I rip old clothes and hurl them around until I reach a state of relaxation and calmness. The title is penned by a poem of Anne Sexton which describes the nightly activities of a demonic almost mythological woman. According to this, the construction of femineity, socially desired behaviour and madness are questioned.

Camera: Birgit Haase
Editing: Andrea Neese

Night and Fog, Artists Network Neukölln, Berlin, 3.11.07

The BIG and the small art

A Lecture Performance

There are only two kind of arts: The BIG and the small art. Some art lovers get destabalized while visiting an exhibition etc. and needs a strong guideline how to judge this or that artwork. Julia Vitalis is aquainted with this problem but she perceives these doubts not only as innecessary but merely as harmful because they question constitutional social principles. In her presentation she will introduce a system of categories which has been developped exclusively for this problem for that everybody can orientate and stick to it. It may be learnt irrespective of academic background and artistic knowledge in only 20 minutes by the audience. In the consequence, this simple method with its different criteria for separation and distinction can be applied by everyone on duty of the BIG ART.

Night and Fog, Musenstube, Berlin, 4.11.06