Friday, May 29, 2015
On April 8th 2015 my latest dance theater production "NOLA" premiered at Kampnagel, Hamburg. It was a pleasure to work with such wonderful artists like Meschiya Lake, Travis Knights, Daniel Larsson, Sandra Kluge and my wife Ellen Marek.
We had an amazing band featuring Russell Welch, Kurt Holzkämper, Markus Voigt, Melf Uwe Holmer and Stefan Dahm.
The show was a huge success with over 2000 tickets sold. Here is a little video clip from the first choreography "Prologue"
NOLA "Prologue" from Thomas Marek on Vimeo.
Monday, September 23, 2013
Sunday, March 17, 2013
Saturday, January 12, 2013
Thursday, August 30, 2012
It was basically a staged, live portrait of six tap dancers of different generations and cultural backgrounds. The show mixed photography, spoken interviews, choreography and jazz.
The title was in reference to a film called "About tap" by George T. Nierenberg, which was a documentary on 3 tap dancers (Chuck Green, Jimmy Slyde and Steve Condos). As a youngster I watched that film a million times and it was a huge inspiration for my dancing.
With my show I wanted to create a staged and more abstract version of a tap dance portrait and their dancers. The idea was to photograph and interview each dancer in their hometown and ask them about their opinions and feelings about the dance form but also their career and life. It was a very personal and biographical show and I was lucky to work with some of the best dancers around.
In Paris I interviewed Sarah and Leela Petronio, Brenda Bufalino in New York and New Paltz, NY. Josh Hilberman in Boston, Pia Neises in Cologne and a self portrait of me in Hamburg.
In pre production interviews, footage and music where put together and were a starting point for the choreography. Later we all met in Hamburg for 4 or 5 weeks to put together the show and perform it.
It was a unique experience. Every dancer generously gave me personal footage and background information on their dance lifes that got mixed together into a full evening show.
It was very successful back then and I often feel that it should be revisited sometime. Very good memories.
Here is a video clip of the show and a couple of photos that were taken during that creative process.
|Brenda Bufalino in New Paltz,NY|
|Sarah Petronio near Paris|
|Leela Petronio, Paris|
|Josh Hilberman, Boston|
|Pia Neises, Cologne|
Thursday, August 23, 2012
Monday, August 13, 2012
Here is a youtube clip of my students perforiming the Shim Sham.....
Thursday, August 9, 2012
This is why I think you should drop counting 5,6,7 and 8 in a 4/4 measure:
1. There simply isn´t 5,6,7,8 in a 4/4 feel. A 4/4 measure only consists of 4 beats. Namely: one, two, three and four.
2. It is totally f***ing 80s and sounds a little stupid anyways. Who started it? Fame? :)
3.Counting to 8 ignores a main fact of swing music, which is a strong feel for the 4 beats. Ask Basie he knows : "Four beats and no messin´", Count Basie.
4. Since by pure logic 1 is not 5 and 2 is not 6 and 3 is not 7 and 4 is not 8, this whole concept is pretty confusing.
5. Transfering this way of "wrong" counting to other measures like 3/4 would mean trouble, because then you would end up counting a 6/4 or 6/8 which is clearly different than a 3/4 feel.
6. You probably count a 3/4 or 5/4 measure correct but not a simple 4/4? WTF???
7. Once you get used to correct counting you always know were you are in the music and you are able to communicate it with other musicians who also "speak the language". This is a universal musical language, that makes sense. Why do you want as dancer stand out, and simply do it wrong?
8.You will never ever have to translate your steps and choreography when trying to work with musicians.... (How many eights again????) Stop being confused when trying to arrange your dancing to music.
9. It´s a first step towards thinking in musical terms as a dancer and understanding the music. And since most (tap) dancers claim to be musicians that should be a given.
10. Become a happy (tap) dancer.