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In CARNOID, human and technical bodies encounter each other and explore their relationship to one another. Choreographer Fabrice Mazliah asks the big questions: What happens when the organic and the mechanical collide? Eye level between human and machine? Where does fusion begin, where does resistance begin? How can we live with the relics of our progress?
Ophelia Young, Oleg Stepanov, and Jan Chris Pollert, three former dancers with Ballet Basel, share the stage with a car. The three repel each other, imitate each other, explore surfaces and sound (composition: Johannes Helberger), and thus not only make us smile, but also bring us to a critical distance from everyday life. Sometimes abstract, sometimes with crashes and friction, sometimes with complicated parking choreography including shoulder checks. Between fusion and resistance, the trio takes apart the archetypal symbol of technical progress created by human hands. The encounter between man and machine gives rise to a fragile interplay of closeness and vulnerability.
You are seated in the stands; individual chairs are available.
Introduction 15 Min. before the show starts 28.2 & 1.3.
Aftertalk after the performance 28.2.
Physical Introduction with LAB Artist Alma Toaspern Tuesday, 3.3. at 19:00
Biography
Swiss dancer Fabrice Mazliah has been working as a choreographer for over 20 years. His choreographies and performance installations explore processes of composing embodied thoughts and actions, including poetically reinventing the relationships between our environment, its objects, its atmospheres, language, and our bodies.
Born in Geneva in 1972, Fabrice Mazliah studied dance at the Geneva School of Dance, Brigitte Matteuzzi School, Rudra Béjart School in Lausanne, and The National School of Dance in Athens. He joined The Nederlands Dans Theater in 1994. Mazliah was for nearly two decades a member of Ballett Frankfurt/The Forsythe Company (1997–2015), directed by choreographer William Forsythe; there Mazliah cultivated his vision of choreographic collaboration and artistic research. He founded MAMAZA collective with Ioannis Mandafounis and May Zahry (2010–2014), HOOD ensemble at PACT Zollverein (2016–2018), the production platform Work of Act (2018), his work is supported by the verein Fabulous Things (2024) in Basel.
Mazliah’s work has been produced and shown internationally, including at the Swiss Dance Days; PACT Zollverein, Essen; Künstler*innenhaus Mousonturm, Frankfurt am Main; DeSingel Theater, Antwerp; Kunstenfestivaldesarts, Brussels; Lyon Opera Ballet; Théâtre de la Ville, Paris; and Venice Architecture Biennale. In 2024 Mazliah is artist in residence at the Künstler*innenhaus Mousonturm and at the Max Planck Institute for Empirical Aesthetics in Frankfurt.
His most recent works are embodying Bodies (2023), created for 6 dancers explores human and other-than-human entanglements through the Biological concept of the Symbiotic Holobiont, The Ends of Things, The Things of Ends 2024, for the dance company of Theater Basel, the work delves into the beauty of ends both in dance repertory and in recent history, SHEELA (2024), with six female performers that focusses entirely on their voices, their joint presence and the potential community that they unleash, In Cite In Site In Sight (2025), for the graduating students of KHIO in Oslo explores our entanglement—not metaphorically, but materially—through air, image, sound, memory, and matter, BONES (2025), in collaboration with Claude Janssen, an immersive performance, that interweaves analog, spiritual and digital media, making a sullen roar (as the wind does) 2025, Created especially for and with the Zurich based Kollektiv dance me to the end- composed of artists over the age of sixty, exploring movement and sounds through different emotional states.
Concept: Fabrice Mazliah
Choreography: Fabrice Mazliah in Zusammenarbeit mit den Tänzer*innen
Dance / Performance: Jan Chris Pollert, Oleg Stepanov, Ophelia Young
Dramaturgy: Anne Kersting
Sound, Composition: Johannes Helberger
Costume: Anaïs Meyer
Light-Design: Ursula Degen
Stage Design: Eulalie Déguénon/ Kristof Heinimann
Social Media: Lina Schumacher
Technical Direction: Lilli Unger
Production Basel: Sandro Berteletti
Production Frankfurt: Johanna Milz
Co-Production: Work of Act, Fabulous Things, Kaserne Basel, Künstler*innenhaus Mousonturm
Support: Fonds Darstellende Künste aus Mitteln des Beauftragten der Bundesregierung für Kultur und Medien, Fachausschuss Darstellende Künste BL/BS Kanton Basel-Stadt, Basel Landschaft, Amt für Kultur
Research for the show was funded by the Hessian Ministry of Science and Research, Art, and Culture
Work of Act is supported by multi-year funding from the City of Frankfurt
Thanks to: Naima Ghoul & Tanzhaus Basel for the rehearsal space
Content Notes
Currently, there are no specific notes on content that we or the artists would like to share with the audience. If you have any specific questions about content notes, the venue representative will be available on the evening of the performance.
