LUVOS migrations is the original soundtrack of the dance film by Editta Braun and Menie Weissbacher, AT 2022. Vision of the future or images from a parallel universe? In breathtaking natural sceneries, automated industrial landscapes and deserted ruins, a journey through time and living spaces.
Thierry Zaboitzeff - imd zabmusic 2023
All instruments - cello -bass guitar - keyboards - samplers - recording, mixing, mastering by Thierry Zaboitzeff
Visual by Editta Braun & Menie Weissbacher 2023
PROG CENSOR (F/B)
rock in opposition / soundtrack – 16:51 – France 2023
"LUVOS migrations" is a choreography (Editta Braun), a film (Menie Weissbacher) and a score (Thierry Zaboitzeff): LUVOS, a group of specialised dancers from e b c (the company of the Austrian choreographer and composer's companion) talk about - and show and stage and come out of the dream - a strange world, populated by chiselled and indeterminate creatures (a body, limbs, no head), moving and alive, inhabiting sets of concrete and graffiti that claim to form a civilisation. This harsh (the apocalypse of a brutal architectural vision) and optimistic (the vital movement of twisted - perhaps adaptive - beings) vision is supported by a soundtrack that is lush (the rich palette of timbres), animated (the animal and natural sounds), intriguing (the rhythmic breaks), mobile (it leads us into the scene) and motivating (we want to be there, we want to repaint these walls, iron out the corners).
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THIERRY ZABOITZEFF – Revue & Corrigée
BANDCAMP, DL – 2023
Luvos began as a strange planet, a life-giving aquatic world, a theatrical project developed by choreographer Editta Braun, and the subject of a 2013 CD, Planet Luvos.
Taking up the idea of a space populated by strange beings, the choreographer, in association with the director and photographer Menie Weissbacher (who works a lot in advertising films), shows characters wandering in a world that humans have deteriorated. In short, a short filmed choreography, set to music by her partner Thierry Zaboitzeff. The musical framework, which lasts just over sixteen minutes, is based on an evolving soundtrack, at times rhythmic and even jerky, interspersed with more evanescent layers of sound, often generated by his cello, into which water sounds, bird calls, a few barks and a brief siren wail slip... creating an environment of strange and mysterious serenity.
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LUVOS migrations - EP reviews
By: Siggy Zielinski 05-09-2023
"LUVOS migrations" is a 19-minute dance film by Austrian photographer/filmmaker Menie Weissbacher and choreographer Editta Braun. The premiere was on 22 November 2022 at the Salzburg film cultural centre called DAS KINO. A trailer at www.editta-braun.com/e/films/luvos-migrations.html roughly gives the impression for the avant-garde dance performance, in which the bodies of the four almost naked dancers rather resemble plants or insects. The website also mentions about 30 dancers who contributed to the development of the difficult and original dance movements. The four performing dancers were filmed on green screen in the studio, after which green screen was replaced by various background images.
The 17-minute music piece for the above-mentioned dance film was realised by Thierry Zaboitzeff alone. With the many different sound tracks and the chamber music character, one can almost speak of a one-man ensemble. The occasional singing lady probably comes from a sampler. Otherwise, one hears various natural sounds and other sampled effects as well as piano, synthesizer, trombone, trumpet, strings, sequencers, electronic rhythms and cellos.
The piece alternates between denser and more sparsely arranged passages. All in all, the open-minded music lover can listen to an original mixture of styles from modern classical music, broadly conceived progressive music, ambient soundscapes and electronics.
Seen together, the music and dance film of "LUVOS migrations" should be an impressive experience. (However, the film seems not to be available on the internet). On the other hand, Zaboitzeff's music is interesting enough in itself to stand on its own.
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Reviews | Thierry Zaboitzeff - Luvos Migrations
by Peter Thelen, Published 2023-08-13
Dr. Zab has been very busy of late, never content at just repeating his successes, always moving forward into new soundworlds, though his work with choreographer Editta Braun’s dance company is ongoing, as is the Luvos concept, which made its debut appearance in 2012 with Zaboitzeff’s earlier release Planet Luvos, a 33-minute suite in seven parts (curiously missing act 1), which we reviewed here in Exposé at the time. So what is LUVOS anyway? Braun’s website explains it thusly: “My specialised dancers and I — create beings that oscillate between animals and plants with extremely mobile and intertwined female, mostly naked bodies. The completely depersonalised dancers' bodies (face and breast are never visible) make us forget that we are dealing with human beings here. The illusion is created of being in a world all of one's own: a LUVOS universe.” Luvos Migrations is the original soundtrack of the dance film by Editta Braun and Menie Weissbacher, in 2022. Essentially a seventeen minute single, composed by Zaboitzeff where he plays all of the instruments, including cello, bass guitar, keyboards, samplers, found sounds, and perhaps some software instruments as well. The piece starts out with the sound of rippling water and birds, followed by a cadence of strings, which is suddenly interrupted by electronics, eventually forming a powerful pulse with a celestial voice floating over it. The piece continues forward in a state of constant evolution through several distinct sections, the everpresent cello guiding the piece as it develops, a gentle and subtle melodic dreamscape until around the nine-minute mark, when a jarring crash overcomes everything and takes the listener through the next portal, where the concept is reconstructed into something entirely new, and so it continues. The listener can imagine the dance moves that follow the music as it proceeds. Ultimately we end up in a place not far from where it all began, with sweeping strings and adventurous melodies delivered over a gentle backdrop of sampled environmental sounds. As I write this, Luvos Migrations is available only as a download at the link below.
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LUVOS migrations by Editta BRAUN and Thierry ZABOITZEFF :
Metaphor for a humanity resilient to its own devastating civilisation?
13 July 2023 Philippe Perrichon Articles and Interviews, Reviews
LUVOS migrations: Editta BRAUN and Thierry ZABOITZEFF
Metaphor for a humanity resilient to its own devastating civilisation?
Premiered on 22 November 2022 in Salzburg, LUVOS migrations brings together two strong and atypical sources of inspiration, whose originality and sometimes strangeness capture the audience's attention: LUVOS migrations, like the previous works by this luminous duo, marks the perfect osmosis between the resolutely innovative, sculptural and moving style of Austrian choreographer Editta BRAUN and the highly personal musical palette of French composer Thierry ZABOITZEFF.
The joint work of Editta BRAUN and Thierry ZABOITZEFF is the story of a collaboration spanning several decades: in 1997, they co-produced one of their first joint shows, Heartbeat, which was directed by Stéphane Vérité (Szenefestival Salzburg, 1997). The number of collaborations has continued ever since, culminating in Eurydike in 2004, König Artus in 2010, and Hydráos in 2020 with the incredible dancer Anna Maria MÜLLER - a show which, in addition to the ever-fascinating music of Thierry ZABOITZEFF, also 'summons' BEETHOVEN, SCHUMANN and DEBUSSY.
The theme of Hydráos is aptly related to the issues raised by widespread confinement, which suggests avenues of development, whether desired or endured, especially at the psychological or even phantasmagorical level, when the constraints associated with confinement for health reasons lead to profound societal and individual upheavals - interference of the imaginary, anxiety or the dream dimension in our daily lives.
Although Thierry ZABOITZEFF is well known to our readers as co-founder of ART ZOYD, his career as a composer outside this well-known context dates back more than twenty-five years (cf. his recent 3-CD anthology)! Born in 1953, Thierry ZABOITZEFF, an innovative multi-instrumentalist, has been charting a solo or collaborative course around the world since 1995. Since then, he has recorded twenty-eight albums. His website, www.zaboitzeff.org, is a goldmine for anyone wishing to discover or rediscover the richness of his exceptional career.
Born in 1958 in Austria, Editta BRAUN is rightly regarded as a pioneer of contemporary choreography. With a university degree in sports science and German language and literature (University of Salzburg), Editta BRAUN studied dance in Paris and New York. She teaches at the University of Salzburg and at the Anton Bruckner Private University in Linz. She has created over 30 productions (physical theatre, dance) and toured the world with her company. Her career is peppered with intercultural collaborations, against a backdrop of political commitment: she takes a resolutely feminist view of society and the theatre.
She was awarded the International Arts and Culture Prize of the City of Salzburg in 2014, as well as the Grand Arts Prize of the Salzburg Region in 2017.
The purpose of LUVOS migrations, a 19-minute film-choreography
With LUVOS migrations, Editta BRAUN uses a fantastic choreography, with faceless bodies and attitudes that are certainly alive, but not conforming to familiar gestures, to evoke the evolution in time, space and landscapes defined by civilisation, of a strange population, half-humanoid, half-animal, making its way indefinitely on the ruins of a collapsed, frozen or depopulated world. Is this a dreamlike projection of a world exhausted by humans? A mysterious post-cataclysmic future for an emerging and fragile species? A hypothetical biological survival following the shipwreck of civilisation? This strange choreographic aesthetic is interwoven with the deep, crystalline colours of Thierry ZABOITZEFF's chiselled music, the originality of which fits perfectly with the highly innovative dimension of Editta BRAUN's choreographic show. The Cairo Breaking Walls Festival made no mistake in awarding it the Special Jury Prize in January 2023.
LUVOS migrations also won Best Dance Film in January 2023 and third place in May 2023 at the Florence-Dance-On-Screen Festival. It has also been shown successively in Salzburg, Cairo, Trostberg in Germany, Pittsburgh in the United States (at the Constructed Sights Dance Film Festival) and was also screened in Cologne at the Moovy Dance Film Festival and in London, etc.
The film was directed and choreographed by Editta BRAUN and Menie WEISSBACHER, who was also behind the camera and in charge of post-production. The music was recorded, composed, performed and mixed by Thierry ZABOITZEFF, and the four dancers Martyna LORENC, Anna Maria MÜLLER, Sonia BORKOWICZ and Berta RAMÍREZ gave magnificent performances.
The production of this remarkable film, with its innovative aesthetic, was financed thanks to the support of the Austrian Federal Ministry of Arts and Culture as well as the City of Salzburg and the Federal State of Salzburg.
Editta BRAUN: "LUVOS was created in our home town of Salzburg and has now successfully begun its journey through 40 cities in 20 countries. Everywhere, we are met with astonishment and standing ovations, whatever the cultural origin of the audience. Whether in Senegal or Bulgaria, Estonia, Scotland, Greece, Cyprus, Israel or Ireland - a LUVOS production attracts a lot of attention and wins awards, as it has just done at one of Egypt's biggest theatre festivals, the Cairo International Festival of Experimental
But what is LUVOS?
We - that is, my specialist dancers and myself - create beings that oscillate between animals and plants, with extremely mobile, embracing female bodies, most of which are naked. The completely depersonalised bodies of the dancers (their faces and breasts are never visible) make us forget that they are human beings. The illusion is thus created of moving in a unique world, a universe called LUVOS. [The specific colour of this universe is] largely determined and inspired by Thierry ZABOITZEFF's compositions and Thomas HINTERBERGER's precise lighting design (*).
Thirty-seven (!) years ago, in 1985, this particular aesthetic was launched by Kollektiv Vorgänge (around Beda PERCHT and myself) with a short piece, filmed by ORF and awarded at the most important European choreographic competition of the time in Paris.
From 2001 onwards, I developed very different feature films with generations of dancers that we took into the world of dance and theatre. The physical and technical requirements that LUVOS dancers have to bring with them are so specific that over the years a highly specialised ensemble has emerged. In the meantime, LUVOSmove® has become a certified dance technique, which I teach at university and which is the subject of scientific research.
At the start of 2021, when international stage performances are still out of the question because of the pandemic, the desire to develop the theme further arises: what new things can be told about the LUVOS universe through cinematic means? Together with photographer and film-maker Menie WEISSBACHER and the specialist LUVOS team, we plunged into the adventure!"
The musical angle of LUVOS migrations: interview with Thierry ZABOITZEFF
How did your collaboration with the Editta Braun Company come about?
TZ: It goes back to 1997, the year we met. I had just left ART ZOYD and we were putting together a duo: Heartbeat, a dance and live music project that confirmed our desire to continue our special and artistic relationship.
The following year, Editta invited me to write and record the original soundtrack for the show India for the company (1998)...
Is there a precession of music, choreography or purpose in determining a project like LUVOS migrations?
TZ: In the case of LUVOS migrations, the choreography and images were created before the music. In some cases during the filming, Editta used music or atmospheres (not necessarily my own) to create a certain atmosphere. But in the end everything was composed on the final images, including the sound effects and ambiences outside the music that I recreated and synchronised. At the very end, there were obviously some alterations to the images and music (length, dynamics etc.).
Is this the usual way you work together?
TZ: Not usually! But we sometimes use this method, and the creative processes are very varied and always very exciting. For example, on each project, we often decide, or Editta asks me, for a particular type of instrumentarium... On Nebensonnen, everything had to be based around the piano... On the first project, Luvos, everything would be electronic, with the dramaturgical demands complementing my electro-acoustic and instrumental palettes.
I suppose that, as is often the case, you are the only person in charge of the musical project? Composition, interpretation, mixing...
TZ: No, I propose sound options following our preliminary discussions, we debate them a bit and then I recast all the sound and compositional material so as to be as close as possible to Editta's and his company's requirements, while retaining my own mix and when everything seems defined, I replay, re-record and remix with my studio know-how.
There is obviously a philosophical or at least a political and societal message behind the choreographies of the Editta Braun Company. Is there a deliberate continuity of purpose between the successive films produced by the company?
TZ: With its choreographic work, Editta essentially follows two impulses: on the one hand, the imaginative exploration of the human body in movement, undressed, in its diverted abstraction (Luvos series, play with the illusion of the body) and, on the other, the possibilities of confronting social and political dysfunction through a vital artistic discourse that professes emotion and profound humanity. Internationality as mutual perception and inspiration, and a particular focus on the situation of women, have characterised her work from the outset to the present day.
Institutional support in Austria seems to indicate that the work of the Compagnie Editta Braun (ECB) is well known and recognised. Do you think that France is lagging behind in this kind of interest in artistic activities?
TZ: Austrian support has obviously existed since the creation of the Editta Braun Company and has developed over time. We can't say that France is lagging behind, I don't know. These are slow processes, often with institutions in very different countries. As far as France is concerned, nothing serious has been initiated or undertaken to date, but that's not a problem.
Do you have any other projects in the pipeline with Editta BRAUN?
TZ: There's a second film project in the pipeline, and the first shoots will take place in August, but I can't tell you any more about it at the moment.
When will there be a compilation of your musical work summing up these decades of cooperation?
TZ: I'm thinking about it, but it will take some time before I can produce this kind of compilation, because we won't have the image and that means we'll have to reconsider the cuts, lengths and mixes, while preserving the original identity of each project.
Article produced and interview by Philippe Perrichon
The soundtrack for LUVOS Migrations is available here :
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