Repertoire

A collaboration between architect Merete-Ansfelht Møllerup, dancers Esther Wrobel & Ylva Henrikson, musician Martin Vognsen, visual artist Hans E. Madsen, illustrator Ib Kjeldmark, video artist video Mikal Bing, researcher & text writer Sylvester Roepstorff.

“Il n’y a pas de pommes au Paradis” is built on components from fx Waiting for Godot and religious rituals put together in an irrational pattern. The idea of Paradise, as described to us by different power structures, rules and norms, are being examined; as well as the possibilities for us to break away from it.

Who decides when to take a walk? Who pulls the leash? Who gives you love? Who barks at who? Who wags who?

“Wagging the tale” is an ironic presentation of the genders conflicts of domination.

A humoristic, seductive & political dance-theater performance reflecting on the existence of borders: Why do we need borders dividing the people and the world? Are they made to protect us from what is different from us? Who profits from raising borders? Do we want to keep them?

Excerpt of a larger work of Gebran called FRONTIERS premiered in Copenhagen April 2004.

A dance journey based on real stories

In the new dance-theatre performance “BUTCHER’S HOUSE”, choreographer Sara Gebran, dramaturg Carmen Mehnert and the three dancers from three different countries create a geometry of human relationships. It’s a journey through storytelling, mixing reality and fiction, humour and sarcasm, sadness and happiness, gender identities and sexual orientation, cultural diversity and stereotypes.

UNCLE FUCKA is a short group piece made as commition work for New Danish Dance Theater. It’s an ironic-humoristic portray of USA military invasion in the world and specifically in the middle east.

BODY EXPIRED 2 points at our culturally blind acceptance of beauty. It deals with the imperfect versus our dreams of body perfection, with the fear of decaying and aging, the uglyness, lonelyness and anonymity that surround disgraceful bodies. We are forced to rethink how we regard our body and to consider the way in wich the media depict women in particular, as well as the body in general.

GUILTS is an ironic and serious invitation into a dangerous universe of guilt, indecisiveness, self-reproach and doubt, accusation and blame, betrayal and murder.

Humoristic, serious and absurd representation of parents’ manipulation of their children and children’s manipulation of their dolls. It is a comment on the objectification of human beings. The work is inspired by Cindy Sherman’s images of fragmented dolls juxtaposed with the innocent dreams, scary games and fairy tales of children.

PINK HOLE is an international visual art project, merging dance, photography and live music. The work takes its point of departure in images by the Japanese photographer Nobuyoshi Araki. It focuses on the pornographic exposure of women and flesh.

MAMMA is a short and personal presentation about being a woman of our times. About women’s contradictions, wishes, desires and ambitions versus maternity. With irony and humour, MAMMA depicts some archetypical aspects of femininity: motherhood and the monthly change of moods and desires.

Three boys seek attention from each other, in a childish manner, combined with sleazy and masculine movements. The piece becomes a satiric and humoristic work about the lack of touch and the constant search for love. In this short work, Gebran uses elements from the price awarded SHE SHRIEKS (Rencontres…/Scandinavian Platform 2000), made for three women.

OVERLOADLADY is an exploration about the act of missing and longing. A universal yet deeply personal subject. Missing, understood as the confrontation between “what Man has and what Man would like to have”, between “what Man would like to be and what he is”.

Sara Gebran’s SHE SHRIEKS takes initiation in images by the New York police-photographer from the 1930-40’s, Arthur Felig, alias Weegee - the famous.
Depicting the drama of the big city - the absurd, the grotesque, the violence and the after effects of criminal acts - the three dancers interact as wreckless furies in a realm of clashes and in-fights. The Japanese band RUINS, surrounds the dancers with aggressive post-punk, roaring silence contrasted by moments of tender femininity.