LUVOSmove® - the history
in Novosibirsk, Siberia
Before Editta Braun founded the editta braun company in 1989, she danced and choreographed in the collective "Vorgänge", which she formed in 1982 together with Beda Percht and other Salzburg sports students.
With its unusual fifth work "Lufus" this dance collective caused a sensation at the Concours chorégraphique international de Bagnolet/Paris in 1986 and won (ex aequo with Saburo Teshigawara) second place in the international competition as well as the festival prize for the most innovative choreography.
The piece was premiered during a study visit of the collective in the village Fanghoumé in the south of Senegal. , the Grande Dame of African dance, had invited the young dancers there. In Fanghoumé they danced the premiere in the Sacred Grove of the Voodoo Priestess Aloopho. Some of the performers of that time are now well-known names in contemporary dance and work as directors and performers beyond Salzburg: Beda Percht, Marion Hackl, Wolf Junger and Ekkehard Hager.
In the same year a dance video for the OFR stunts was shot for the stage play "Lufus", which documents this "germ cell" of the later LUVOS productions (see below ): eight men and women, scantily dressed against the light, the stage covered with earth (the name of the healing earth Luvos gave the production its name), isolated limbs in an unusual perspective, bare legs, back, buttocks, motionless, then slowly swaying, trembling, twitching... up to the creaturely jumping, wafting, rolling and stamping of primeval-looking creatures with strange masks. In addition, the music of the formation Art Zoyd, whose co-composer Thierry Zaboitzeff would later become the congenial musician for the company.
To this day, Editta Braun, with her company and Thierry Zaboitzeff's music, continues to develop this extraordinary form of movement theatre in her LUVOSmove® series, taking it far beyond the boundaries of conventional contemporary dance. The five stage plays and four short films in this series since "Luvos, vol. 2", with which the e b c 2001 resumed the thread of 1986 and began to spin on, explore the very own aesthetics of an all-female body illusion theatre and go hand in hand with the creation of a real Luvos ensemble whose dancers are specialised in this repertoire.
Editta Braun has since reinterpreted the LUVOS universe in ever new contexts. "Lufus" became "Luvos" and could be read as a commentary on the frightening excesses of genetic engineering, as an evocation of fascinating and enticing underwater worlds, as an independence of the world of thoughts and feelings of a concert pianist. The LUVOS-beings were humanoids, plants, worms, monsters, abstracts.
Editta Braun first drew on her experiences with the very special movement language of "Lufus" in 2001 for a fantasy about frightening perspectives of genetic progress ("Luvos, vol. 2", 2001). She now replaced the real earth on stage with small red foam cubes, which have since been part of the LUVOSmove® pieces in various colours.
More than ten years later, Editta Braun created an apocalyptic underwater scenario with "planet LUVOS" (2012) entirely in blue and confronted the surreal LUVOS body worlds with the human figure of a freely moving dancer for the first time. The fact that the five (in the premiere cast: seven) dancers of this production are initially seen on stage as human beings, a kind of ship crew, and only "mutate" in the course of the piece was also an innovation.
In 2015 (and 2017 with a new cast in a modified version) the LUVOS beings on the stage of "CLOSE UP", now in grey, are not confronted with a dancer but with a concert pianist. The lemur-like LUVOS creatures, now wearing a wig, are understood here as the embodiment of the musician's inner life - doubts, fears, worries and the longing for freedom in an outwardly harmoniously perfect world of high culture. In the music, interpreted live by Aysedeniz Gökzin (and in version 2.0 by Céline Thévenot) and composed by the interpreters and Thierry Zaboitzeff, dream and reality, inside and outside, meet: dance and music in interaction and contrasting competition of (syn)aesthetic elements.
Finally, in 2019 Editta Braun returned to Senegal with three LUVOSmove® dancers who are particularly experienced in this technique, where everything had begun more than thirty years earlier. In Germaine Acogny's École de Sables in Toubab Dialaw and in Dakar they performed the piece "Fanghoumé" (2019), named after the LUVOS place of origin. Performed in full-body costumes with respect for the customs of the host culture, it concentrates the aesthetic, content and musical LUVOS stations from three decades.
One year later, the result is "Hydráos" (2020), again an underwater fantasy, which associates a blue-green world, both primeval and future, and refers to the history of evolution. Numerous earlier LUVOS motifs are taken up again and developed into a mythical tale of pure life beyond good and evil.
In the same year the company finally registered the name LUVOSmove® for this movement language and type of body illusion theatre developed over decades and Editta Braun began to teach LUVOSmove® at university.