I had heard the name before but had never seen either photos or archival film of her dancing. The evening began with a half hour film from ORF created by commission Karin Veitl.
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Akademietheater performance July 2005 in Impulstanz of Desh by Rosas. Anna Terese De Keersmaeker, Marion Ballester and Salva Sanchis.
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incubator is not performed at one of the traditional central theatres of Vienna, but out at the old Arsenal in a space that looks more like an aircraft hanger than a theatre…. The walls are a dirty white with an industrial feel to them, all metal beams and ribbing.
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On the stage is an old man deep in a chair almost asleep…. On the back black wall of the stage, hangs an enormous golden picture frame.
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For the grand opening night party at Arena, Impulstanz began with a show at eleven o’clock. It was the 100th representation of a collaborative multimedia piece created in 1998 by Chris Haring (choreography and dancer) and Klaus Obermaier (music and video).
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After a week of rain and flooding, the sun broke out on Thursday at last to coincide with the opening of the Impulstanz festival took place in the Burgtheater.
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The music was good and the vibe was really easy-going…. As well as the music, there was a full sauna and pool and jacuzzi available to party-goers.
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Why should flexibility in Grand Rights negotiation necessarily result in poor quality productions.Such specious arguments suggest again that there are too many lawyers to feed here and that we are a long way from the composers.The next music publisher up at bat, Thomas Tietze of Bärehnheiter Germany points out that producers and publishers should not see one another as enemies but that open communication requires flexibility Czech composer Zbynek Mateju recounts that he had had problems with my own work…. The system must change from flat fees per country to a percentage of what the producer receives.Otherwise, Hungarian TV offers $1K for rebroadcast but since the music publisher wants $2K no sale can be made and it is impossible to get these works shown in smaller countries.In Dr. Moritz’s opinion, license fees are not the barrier now, but publishers’ fees.Chris Hunt head of Digital Classics in the UK sent in a written statement: of the thousands of hours of programming for which Digital Classics own the rights for there are hundreds of hours with Grand Rights attached.
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