Constanza Macras choreographs globalisation. That is, all the contradictions that arise from the popular search for identity and desire for the exotic. These are fired onto the dance floor – sometimes across the board, sometimes straight to the point – with an essential grain of anarchy. Her blow count of wild dances has been more than respectable recently. As well as touring with her ever-popular production The Past, she has worked in the Chinese megacity Guangzhou, where local 15-year-olds gave up jobs as acrobats to defiantly indulge in their art in Macras’ The Ghosts, as if in a kind of documentary dance theatre. This occurred just as Macras returned from Johannesburg in order to drill deep into the South African intellectual way of thinking with a hand-picked team of dancers for On Fire (yes, dancers can be intellectual in Macras’ world). Then she had another giant commission: soft cell with the 38-person Danscompani of Gothenburg Opera, in which she reckoned up with the Swedes along a political line of confrontation balancing pleasure in community and the question of whether the isolated still have freedom of expression – a dynamic stunner of a piece, choreographed as a bawdy wedding party and widely thought to be her best piece since she founded her company, DorkyPark, based in Berlin. This is where she lives and enjoys a reputation for being the best headhunter for extraordinary dance talents – and rightly so, especially as it is Constanza Macras’ choreographic art that brings many talents to light in the first place.
THE PAST (2014)
ON FIRE – The Invention of Tradition (2015)
THE GHOSTS (2015)
THE GHOSTS ALBUM (2016)
Argentinian-born Constanza Macras studied Dance and Fashion Design and developed the basics of her choreographic work in Amsterdam and at the Merce Cunningham Studio in New York. She founded the dance theatre company Constanza Macras | DorkyPark in Berlin in 2003. The company brings together performers of all kinds and combines dance, video and live music. The over 20 productions she has created tour internationally, showing at acclaimed festivals. In 2008 she was awarded the Goethe Prize for her production Hell on Earth and in 2010 she won the top German theatre prize, DER FAUST, in the Best Choreography category for her production Megalopolis. In 2013, she became the first female director to lecture at the École des Maîtres, an itinerant theatre training school.