Biografie Anne-Marije van den Bersselaar
Anne-Marije van den Bersselaar is geboren in 1984 (Heerlen, Nederland). Vanaf haar zesde kwam ze voor het eerst in aanraking met dans op een lokale, klassieke balletschool. Na het afronden van haar gymnasium opleiding op haar negentiende stopte ze met dansen en begon de studie BA Theater, film en televisiewetenschappen aan de Universiteit Utrecht. Tijdens deze studie specialiseerde ze zich al snel in dansanalyse en dramaturgie naast de Minor Kunstbeleid en Management. In 2007 leerde ze de Israëlische choreograaf Mor Shani kennen. Ze heeft als zijn dansdramaturg meegewerkt aan Bebe la Sus en Lu Carmella, het winnende duet in het Soloduo Festival in Boedapest. Vanaf eind augustus van dat jaar heeft ze naast 15 andere choreografen (onder wie Mor Shani) deelgenomen aan ‘One Night’s Dance’ bij Dansateliers. Tijdens dit project heeft ze met Mor Shani aan Fariot gewerkt. In de zomer van 2009 heeft Anne-Marije haar stage op de Educatie afdeling voor Nederlands Dans Theater afgerond. In oktober ging ze met Mor Shani naar De Nederlandse Dansdagen in Maastricht voor het programma It’s Award Winnaars. In november en december heeft ze wederom met hem gewerkt aan de dans Caliber in het project ‘Brand New’, een samenwerking tussen Dansateliers en Conny Janssen Danst. Momenteel is ze haar scriptie voor afronding van de MA Theatre Studies aan het voorbereiden.
www.morshani.com

anne [at] bit-dansdramaturgie.nl

Biography Anne-Marije van den Bersselaar
Anne-Marije van den Bersselaar was born in the Netherlands in 1984. At age six she started to dance quite intensively in a local classical balletschool. After she got her Gymnasium diploma at age nineteen she stopped dancing and started studying her BA Theatre, Film and Television studies at the University Utrecht. There she soon began to specialize in dance analysis and dramaturgy next to the Minor ‘Art Policy and Management’.  From 2007 on she worked with choreographer Mor Shani as a dance dramaturge on different projects like Bebe la Sus and Lu Carmella, the winning duet in the Soloduo Festival in Budapest. Anne-Marije finished her internship at Nederlands Dans Theater on the Education department at the end of summer 2009. In September she participated next to 15 other choreographers in the project One Night’s Dance of Dansateliers and during this project she worked with Mor Shani on Fariot. In October she went with him to the Nederlandse Dansdagen in Maastricht for It’s Award Winnaars. In November and December she continued her work with Mor Shani on the choreography Caliber in the project ‘Brand New’, a collaboration of Dansateliers with Conny Janssen Danst. She is currently preparing her research in the MA Theatre Studies.
www.morshani.com

anne [at] bit-dansdramaturgie.nl

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Being a dramaturge in contemporary dance is quite a challenge. A contemporary choreography in terms of language can be objectified as ‘the transcendental signified’ according to Bryan Reynolds; it all depends on each other. Every dance has its own context or frame and the created becomes meaningful only in this frame. Then the next step is how to construct a notation system and a way of speaking about dance, movement and bodies. How to find words that connect my thoughts to the mind of the artist? Every next contemporary creation will refresh the dialogue I have with the choreographer.

As a dramaturg I am dealing with what is actually on stage, what is present in dance and movement, and in art, but also what is in between the stage and the audience in the here and now. A different world reveals itself on stage as the creation becomes apparent. To quote Bettina Masuch a contemporary art piece always contains a new and different language than is apparent in its surrounding. An interesting question to me is what this language could evoke by those others and how this is related on the one hand to the conventions of theatre and the level of performativity and on the other hand on the level of perception of a specific audience in that very moment.

The process of creating a dance is also political loaded, because eventually it is a matter of making choices in the creative process. With political I mean to refer to relations of power between people and bodies, but also between bodies placed in space and in time. As a dramaturge I need to be aware of these ‘politics of choice’. To practice this I give ground to a theoretical perspective to create awareness of the consequences of those choices in the creation. That is why as a dramaturge I am firstly concerned with formulating the most relevant question in a certain moment, before the analysis of an answer takes place.

In the words of Michal Kobialka the challenge is to deal with their different differences in terms of vocabulary, directions of thinking about art and different aims with the creation.

Anne-Marije van den Bersselaar