no great. why do extreme athletes risk their lives? where is the limit between passion and obsession, courage, and, and defiance of death? in 60 minutes on d, w. every journey begins with the 1st step and every language with the 1st word. pollution pinnacle rico is in germany to learn german. why not learn with him? a simple online on your mobile and free to shop. t w's e learning course nikos vague german made easy. ah, diversity for me? is it the heart of what content for dances? ah

ah, make me feel like i want to put the theater on fire with it's june 20 2130 degrees in the shade. i've come to meet someone he was here, ways in lotion, internationally acclaimed. choreographer. bull fashion trash done. he's currently working at the t house,

scott in germany as artist in residence with booties dance company might catch him on a quick break between with us. as an artist, he is difficult to pin down. i want to know more about his princess. how does he begin? what are his steps in creating a choreography starting a dance business like sitting on the street with kind of what is the leg wobbly? uncomfortable yeah, you have to find am. yeah, am starting of done space is, is complicated and kill taken and i would normally try to start with what's happening now in my life. whatever comes up to my head, anything, anything, it's a bit like it starts like therapy and i see what keeps me busy. and then i kind of do the same with the world around me with a dancer, as i try to feel of what's the energy in the room?

and what bothers us or interest us? i'm a choreographer. so i, i'm the chef in the kitchen. i lead the su sheriffs and you know, we get the material in there, the tomatoes they know, are they onions and it's all. it's great when it's good products. we always say for a good meal, you need good product. but i appreciate the time. i'm kind of like leading the. ready the kitchen, but for this thing to happen for dance was to happen. you need the great products. he needs great dance or as you need the great kitchen unit, great equipment in i recognize i can't just do it on my own chest. this web hosting towards the world winning major rewards. he's a star among contemporary choreography. his piece is a name for being wearing a pedestal of emotion brimming with energy. i will have a fantasy about to watch the energy of the music or the atmosphere of the music.

you have a strong feeling of it. and once you start writing it down or telling it to someone it's, it's disappearing. it's up and the same, i will have the feeling of the music or the atmosphere of it, and i will start recording the music. and then the work starts. and i will experiment an experiment from experiment until the, until i find something that is like the, the heart of the thing. it's an incredibly subjective experience. dance and it's every moment the to watch. it is different. i can fall in love with something. and then really miss it and try to get the dancers to get there again. and maybe they never will because i can't feel it. power percussion, action checks that took them lessons at an early age, studied music, played for a long time in a rock band. to this day, his productions are driven by strong with him. when suddenly everything is collapsing and a lot of times i think this is when the groove is coming in,

when the re them is where i just go like, let's just rides this wave and not think too much. and, you know, part of the work and ambition of the work is to take people on a journey where they lose their thoughts, they lose their minds. of course, we tell the audience kind of where we are, we, the audience gets a sense of the, the atmosphere, the place or the, the emotion that we are kind of dealing with them. i hope is that it becomes a poetic experience. i disappear into it like a dream. one of his most successful pieces is it features typical shesta moments motif cease developed and uses again and again. every north jeremy likes to love the cloud and the flower clown. so then we're really heavy on. it's small enough. you can really get into

a concert. i'm for sets. yeah. she really talks about being smoky. like having the idea. yeah. now you are a smoke or you are a balloon or it's a lot with the much a nation. so all the time we, we constantly, much in things is not your finger needs to be here or your leg needs to be there is so level of the much nation. the movement is quite do see if that word makes sense . like there's a lot of texture and strong and viscosity as it for dancing through honey i and it kind of morse through the bodies of the body kind of is constantly changing and morphing and going out in it. so it's a way to find space in the body that maybe we haven't found before. in stuttgart, whole session chesta is working with the renowned gaultier dance company. he is

known and respected at courtiers company for a long time. it's an honor to be guess, choreographer. here, so when i re came with the idea to talk more like just acknowledging the relationship close, we have one ready m, which is a very fruitful one. you know, and i love the company. i love the spirit of the company and there is a san, so for working really hard, you know, kind of for a lot of investments from the dancers, from everybody in the same time the atmosphere is very light. it's very friendly, very casual in the casualness. so for a company in athens, for, you can find something quite human actually, and this is what interests me about dance. so, i don't like when it's too late, can you know that it has all the facade and the glamour. and now that interested in that carefully, just underneath yourself. he wanted to collect it through. oh,

fresh shesta has already had work staged in stuttgart. he's been math at 3 years as artist in residence. his 1st production with the goatee dance company is a re interpretation of swan lake. by the time rehearsals are over, barely anything will remain of the classic. the world famous ballet is given the typical change to treatment. the idea for the adaptation came from the dance company director who wanted the original ballet to spark something entirely unique . when every kid spoke about it in the beginning, i was a bit like law sworn leg. but exactly, that is what's interesting for me, the conflict, the me from the story, the, the culture around the, to the culture around what, you know, ballets and beauties. and that just makes me feel like i want to break everything. you know, it makes me feel like i want to put the theater on fire. contemporary

dumps as an act that burns away the old to make way for the new. radicalism is part of who, who fish. chester is. deep in tune with the zeitgeist. he promotes different ideas of beauty. diversity for me, is it the heart of what contemporary dances? the world of ballad comes from a very particular culture, from a culture of high society, a royal court and song. so it, it carries a very racist attitude at hearts, you know, and we are descendants of classical bother we came from there. we're like the ugly sister, the point of contemporary dance aesthetic, diversify the perspective of how we look at things. and it is essential for contemporary dance to be diverse and it is what makes it interesting and it is what makes it to reach and truthful and honest and revealing. we want to feel and

believe that contemporary dance is a very open the truth. these contemporary dance is still sort of owned by the middle class, you know, and it's owned by a very white audience in order to open the doors and to, you know, to, to may come tempered tons available for everybody. not only as an art form to watch, but to participate. a lot has to be done. the doors that have to be swine in a wide open. since 2002. chester has lived in london and has frequently sold a house. major of them use their job, but he also takes his work to the city smallest ages and works with up and coming down says he wants to attend conventions on their head, to open doors and do away with elite ism and exclusion for him. that's true. freedom of act, ah

ah, working among the dances in stuttgart, our international performance thing at my on his clear vision, his calmness and accuracy checks that doesn't think much have strict drills all the perfectionism of classical ballet. it's very clear of what he wants and he's not stricken away. no, you did wrong or no. this is not nice, but he finds a way to guide us into these. but at the same time he, he has the patients that we get it in the body, something i find with profession. i'm kind of a light heartedness in the studio. and that allows us all to explore and

to try different things without judging ourselves too much. while at the same time, having very serious physicality. so there's a lot of challenge. also, advice, gantski knows exactly what he wants from us, but he also gives us the freedom to find it ourselves. so, but through fin with your little how pretty, how. and then despite the relaxed atmosphere at rehearsals, nothing escaped his gaze. mm. chased as p since often reflect his own background in modern israeli dance. i am a but i've always been passionate about this really style of dance. who fishes from israel vogue lives in london and his movement style and the music. he uses feature

a lot of heavy and loud beats. heavy bass that goes right to your stomach bow. you sit there and think, wow, homes are because it's fast paced and energetic friends. 20 minutes of a for you with the style could fit in anywhere good or bad. personal changed and was born in jerusalem in 1975. he nunn's piano was a child and later studied ballet and modern dance. at the age of 18, he moved to tel aviv when he was drafted into military service for 30 long months. it was a formative and borderline traumatic time for him. i certainly tried to forget my military service, it was a very unpleasant experience just just as an individual and, and you know, growing up in a country that in attempting really badly, but attempting to be a democracy. and then you go into the army, which is a must and then there are very different rules that they, it's like

a universe inside a universe. and that was really difficult mentally for me to, to accept even before finishing his military service changed, i had already become a member of the renowned achiever dance company. is teaching it was, oh, had naveen a legend of contemporary dance and offended with railey. the association had a big impact on shasta is very strong, you know, in my identity or in my, i mean it's my history and you know, our history shapes us, you know, and, and my growing up in israel and the college traumas this sort of like overly politically obsessed environment that israel is, is certainly a kind of mark to me and working with the hard and working with whichever, which is obviously such a stronger language such as a stronger choreographer. so it's,

it's my family think morton is rainy, dance with its powerful syntax, if movement, past shaped companies, world wide. how fading piece is sweet audience is away. and also with a society in which they were created. i think there is a level of her directness that's what comes to mind that can have a positive size and pretty, pretty difficult sized top sites. a tough love and toughness. ruth? so yeah, that directness i think, is, is there any kind of the strength of the ease readily and dance you get the truth in the face dance often becomes political with the whole fashion shape stack. his pieces are also

provocative. that full of emotion, of passion for yeah. and also aggression. just like in clowns. clowns. ha. clowns is a it started like an experiment. and it's a very simple show where the performers are obviously there to entertain the crowd, things . and they use whatever means available to them to entertain the crowd in easily dancing and tap dancing, fake tap, dancing, and theatrical killings. so it starts with some killings that are kind of like

amusing. but it never stops. the theatrical killings become more and more choreographed and more and more, you know, kind of mass it mass killings that are got crow graphically happening. so i think that the work is very starts entertaining and with a smile and can become quite satisfyingly, i think, disturbing. crisis conflict. whoa, whoa. fetched as work reacts to political events, to the mood of the time. of the united states. 201620. 17. for example. saw terrorist attacks carried out my islamic militants around the world. chester responded with the peace grand finale.

grunting. only a war and that, that colonel responded to the energy, the apocalyptic energy in our world. there was a feeling that everything is collapsing, everything is coming to an end. it's like all the structures that we know. everything that we trust is like falling apart the world from being the solid place that we can trust became. we don't know what we can trust and death is everywhere. looking at everything collapsing and how does it feel? how does, for, from the inside what, what's the experience of people inside? this is 8 case in the contrast could hardly be greater between the

calm, polite atmosphere, if rehearsals and harsh controls chaos of chest, his work on stage. but he also sees the rehearsal studio as a place to create genuine physical experiences. something that plays an important role in his work is that dark, and it's stage dancers who's in a state of the tv, yes, rapture, as if hypnotized. ah. the darkness gives us a space like a surreal space against like a dream world. so the darkness helps focus the elements, you know, focused energy. you know, we start getting into some sort of a trans think

we speak about the works that have the darkness. that's the power for me. sometimes you can say there is a power in revealing the room. there is a power in saying, we are here now experiencing this and like in our 1000 people watching a few people bringing the spirit up and you say, this is where we are now. like having these 2 sides of the rainbow of the arch is what makes you feel all their world that exist between so that you know, the really kill article peasy quick. you know, i love it when it gets complicated. repetitive to and then you have the kind of the silence and the moments that gives you very little. i love l o positions. i just, i love kind of arguing with myself again and again. whole, fresh, chesta seeks out animalistic movements in his dances. echoes,

if the primal are we are an animal in my head and we're just as somehow have the ability to speak. that's kind of amazing. and the ability to plan, i enjoy exploring the body and the movement of the body to, to the complexity of it. so when you explore the complexity and the full ability of your color, you're in discover animalistic size. full shasta, the animalistic wet presents direct and continuous energy, pure physicality and unrestrained power thing. there is an openness, there is a, i don't know how to explain it. there is like the, the breath of oxygen sort of, that these very inspiring are almost like translucent, transparent,

energy. after just 4 weeks of rehearsal, i meet whole fish. shasta, again on the day of the dress rehearsal. i'm back at the t onto house. sure. got home if the go to your dance company, the mood is highly focused, but relaxed at last shakes does re interpretation of swan lake is coming to the stage. he's renamed the piece swan cake. it's less about the profound and more about the pleasure of nonsense. he composed the music, him, who does the most of his choreography, you know. okay, so he's having a last consultation with the company's director and i go to head you're hearing there are still a few details to be ironed out. like, how will the curtain cold be done and what seemed to pull soundtrack like confetti cannon or their feathers on the ceiling,

fans and the tar and feather around it, and then and then down. wow, yeah, that is so like surprising the audience. yeah. so basically, yeah, like how would start this one lake is an unrecognizable version of tchaikovsky massey. there's no white swan to be seen. the dances are in colorful casual gear. instead of fairy tale bliss. this pump instead of themes, their purity and beauty. a crazy true phyllis, the stage instead of melodrama. best light hearted, chaos. it more like

a wild party. lasting late into the night. told a dance many times. it feels like it. it's falling down the steps and it goes another layer and another layer. there is no rules in a way to the piece it's, it's kind of exists in a bit of a cabaret, like worlds, you know, but, but that allows for everything to happen. and, and maybe it's that sense of freedom that it just, it just wants to, it just wants to explode and do what it once may be a bit childish. ah, swan can't maybe not a whole fashion chest, a masterpiece that will be talked about forever. but definitely something that leaves you wanting more and the performance is certainly demanding before the dances as exhaustion

relief. when it's over for the choreographer himself, it's a chance with critical reflection. my feeling is there, what can i fix and what can i make better them? so yeah, good moments about him and you know, i can see the things where it feels itself and words really works nicely to places where maybe we can make it better. and i'm not just sitting and enjoying. and so it was very intense. but it's funny because very intense work in the same time stood guard is very quiet. but there's a sweet memory with this, which memorial annoyed. so it's, it was a healthy working hard. and then for me it's very important that that in series, creative and open and playful. and yeah, this is a how i want to spend my life. oh, fresh as productions are full of emotional and physical power. like the

rest of his life. thereabout motion and intensity. one last question for the choreographer. which part of the body does he see as most underappreciated? the bought some of the c. we'll have to think about that a little bit. thank you very much. thank you. thank you. with a ah, with

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