TRAILER PARK
In Trailer Park, German choreographer Moritz Ostruschnjak brings together ten dancers from the tanzmainz ensemble on an empty stage, suspended between the digital and the analogue worlds. The work unfolds as an exploration of the relationship between physicality and contemporary visual culture.
Virtuosic, young, and powerful, the dancers move within a choreographic framework that remains closely attuned to the pulse of the present. Ostruschnjak’s creative process is both rigorous and distinctive: his works draw on social media not to contribute more content to the endless stream of images and movement, but to mine this vast archive and transform it.
For Trailer Park, the performers were invited to select videos from the internet, study them, reproduce their movements, and embody them. The process echoes “meme culture,” in which content is extracted from its original context and repurposed with new meanings. On stage, movement originates elsewhere; only through its recombination does something new emerge.
Throughout the creative process, the choreographer reflects on how the increasing digitalisation of everyday life shapes our physical and social capacity to experience the world. By embracing chance and allowing the dancers a high degree of autonomy, the work develops as a collective practice in which each performer actively contributes to the creation of the piece.
The exertion of the body becomes a central element. The excessive demands imposed by—and often fuelled by the allure and pressures of the digital world—are translated into and amplified through the performers’ bodies. The result is a choreography that reflects the tensions of contemporary life, oscillating between exposure, repetition, and transformation.
