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New books two books has just arrived from the printer. Spangbergianism originally published in 2011 in a new edition, and They Were In The Wild written in 2021 and published in Korean now in English for the first time.

The novel Stories That Tell No Nothing written parallel to the process I'm Hiding One Of These has during the spring arrived in an English edition. It's thing little novel approaching the format novel from the perspective of choreography. A second part coming out in the early fall 2023.

In November I'm Hiding One Of These premiered in the context of the Ob/scene festival in Seoul with Minjin, Jin Young, Hany and Shinu. We had some time in the studio and made a piece together that perhaps is about the ecology of attention, in particular in the context of a theatrical dispositive. We liked the piece and the audience seemed to feel great, especially the ones that took a nap or cuddled up to a friend.
Here is a full video

The performance was accompanied by a small novel written parallel to the rehearsal period, functioning as a form of extended evening program, published on the festival's webpage, one episode per day fourteen days before the premiere. It was written in English but published in Korean, and the other day some paper copies arrived of the English edition. Self-published, which of course signals that the book isn't good enough for a publisher to take on, or if I publish them myself I can give all my friends a copy and that warms my heart. Message me if you want a copy, you just have to promise to read it.
The motivation was not to aspire to be a novelist but on the contrary to consider how as a choreographer do you think through novel as a format. The book, not very thick, is called "Stories That Tell No Nothing", and here you can find a PDF
Mårten Spångberg: Stories That Tell No Nothing (2022)

Surprising what shows up on youtube. Listen and learn, or maybe just chillax and ignore the dresscode.
From a conference in Hong Kong, 2015 or long ago. How extra ordinary.

Upcoming stuff

They Returned Every Day At The Same Time To The Same Place the podcast series is now almost completed and available online. 25 episodes are there one for each letter in the alphabet (except X). Every pretentious artist, thinker etc. obviously need to make an abécédaire, now I've concluded (almost) mine. The podcasts are more or less ten minutes long losely reflecting on dance etc. Completed with minimal technical support and with music that I play myself. The podcasts are part of a project with the same name created in collaboration with and the curator Francesca Verga.




Premiere,Sidney Barnes and Mårten Spångberg premiere a new proposal They Listen To The Season Change, 13 on the 28 May, 2021, in the context of Stamsund Teaterfestival.
The process has began and although rehearsals are happening in separate locations it's an intense collaboration. The duet, in two parts, one outdoor dance and a dance recital, is formulated around questions of dance and listening, in particular in time when touch and intimacy often is prohibited.

Upcoming stuff

They Returned Every Day at The Same Time to The Same PlaceThey

Opens om the 5 March 2021. A collaboration with curated by Francesca Verga.

26 dances will be presented during the same amount of days, together with equally many contemplations around words and terms central to Mårten Spångberg's practice.

Find out more about the project here

A longer introduction to the project here

They Were Thinking, In the Background, Wild Nature premiere tomorrow in Seoul, London and Berlin. Berlin local time 10.30 at Sinkende Mauer/Invalidenpark. The performance is presented by Ob/scene Festival in Seoul, further information here
With and by: Sidney Barnes, Choi Jinhan, Jang Su-Mi, Mårten Spångberg
With a commissioned soundtrack by HASC.

Interview- The spring issue of the Bulgarian Dance Magazine features a rather lengthy interview with Mårten Spångberg. Check it out here

Magazine for Dance #2/ 2020 issued by NDA-Bulgaria and Brain Store Project in the frame of Life Long Burning project.

Anthropology will premiere in Bucharest on the 13 - 14 September. New piece that continue the breathing started with The Climate. This work comes closer to a meditation over a shared world and how we can carre for it through contemplation and an an engagement through aesthetic appreciation.
Anthropology is addressing dark ecologies breathing with the night siding with shadows and those awake after the sun goes down.
With and by Sidney Barnes, Vlad Benescu, Maria Baroncea, Karolina Kraczkowska, Emmilou Rössling, Mårten Spångberg.

The Climate premiered in the end of May as part of the Stamsund Theatre Festival. Danced by Moya Michael, Misha Downey, Sidney Barnes and Liza Baliasnaja with denim costumes and a little video. Nice piano music by Simeon Ten Holt that nobody listens to any longer.
The piece will be shown in Brussels and Berlin during the earlier fall.

You can find the video of the piece here

Norsk Shakespeare Tidskrift's correspondent Elin Lindberg reviewed The Climate (part of a longer text):

I Mårten Spångbergs forestilling The Climate er det også sparsomt med direkte kommunikasjon mellom tilskuere og aktører. Her sitter publikum på puter langs veggene. Gulvet er dekket av tepper med vakre trykte mønster med blomster og fugler på. Fire dansere beveger seg hverdagslig i rommet ikledd dongeriklær
som de skifter flere ganger gjennom forestillinga. De snakker lavmælt sammen om minner, tv-serier – hverdagslig småprat. Så danser de litt. Slapper litt av. Danser litt. Ser på hverandre danse. Danser sammen.
Det er presist og proft. Musikken er også lav, den er pianobasert. Det er nesten som om den kommer fra et annet rom. Alt er pakket mykt inn. Det er meditativt, nesten søvndyssende. Noen i publikum ser faktisk også ut til å sovne. De danser jo for oss, men det er en ambivalens her. Det er også som om danserne danser
bare for hverandre. Det er en slags dekadanse over dette, en avstand. Det er som om man ser på noen trene, eller man scroller nedover Facebook-feeden og ser på andres liv. Den innadvendte holdninga er smått provoserende. På en skjerm ruller et tegnet streklandskap der det også blant annet dukker opp fisk, en sko og et hotellrom. Denne skjermen er plassert over hodene til halvparten av publikum slik at disse ikke kan se den – et pussig grep som jeg ikke helt forstår. Er det for å understreke det innadvendte ved denne dansen?
Hva er det de egentlig vil med dette?

And a quick English translation, click here

More information here