Ana Sánchez-Colberg

has gained an international reputation as a choreographer of dance-theatre, which is novel and distinct. Ana trained in classical ballet in her native Puerto Rico before turning to contemporary dance. After completing a BA (Hons) in Theatre at the University of Pennsylvania she pursued a Master of Fine Arts (Choreography) at Temple University in Philadelphia. Under the tutelage of Helmut Gottschild (who was assistant to Mary Wigman in Berlin until 1969) she trained in Wigman, Jooss and tanztheater techniques. During this time Sanchez-Colberg was a member of the Terry Beck Troupe, a Philadelphia -based dance theatre company and Movement Coordinator for Intuitons, a physical theatre company. In 1986, under the auspices of a fellowship from the Institute of Culture of Puerto Rico, she came to England to pursue further dance training and to follow a Ph D programme at the Laban Centre London (which was completed in 1992).
With Theatre enCorps she has produced Alice, Alice, Alice...Are You A Child or a Tee totter (1989-1990), performed as part of the Edinburgh Fringe Festival, as a site-specific work at Newcastle Arts Centre and West Greenwich House and as part of Spring Loaded 1990. This was followed by Fragments: Discourse on Love (1991-92) performed at the Oval House Theatre. Family Portraits (1993-94) was also performed as part of Continental Shifts at the Edinburgh Fringe Festival and was performed in London at The Place Theatre (Evolutions! 1993) and the Bonnie Bird Theatre. En Viva Voz (1995-96) was first performed as a work in progress as part of Resolutions!/Evolutions!1995, it received support from the Place Choreodrome 1995 and a Bonnie Bird Award for its development. The final version was produced as part of Spring Loaded in March 1996. In April 1997 the company produced Now we are no longer who we were then... based on Jean Cocteau’s Jeune Homme et la Mort. She directed Theatre EnCorps international project Futur/Perfekt an international collaborative performance project exploring the relationship between individual histories, city landscapes and the notion of the global. The project began in Berlin in 1998 and has been performed in the USA, Austria, Puerto Rico, Colombia and México. In 2004 with support from the Austrian Cultural Forum and the Theatre Museum Vienna she produced Mahler’s Fifths. The piece was the recipient of the coveted Creative Collaborations in Music Award from PRS for its innovative treatment of dance and ‘live music’ in performance. The piece toured internationally in 2005.
Ms Sánchez-Colberg has worked with various international companies. She has produced four commissioned pieces for Ballet Concierto de Puerto Rico: Ojos Que No Ven (1992) which received the first prize in the Festival of Caribbean Choreographers and has been subsequently performed as part of Ballet Concierto’s repertoire including performances in New York’s Lincoln Centre and the Wuppertal Opera House, Sartorii (1994), Entre Huella y Pisada (1996) received various awards from the Corporation for Music and Scenic Arts (NEA) and Tejiendo Memorias (1998). She produced a piece for the Balletts des Staatstheater Cottbus es lasst sich nicht lesen.. which was supported by the British Council (Berlin). Strange Muse, produced in June 1997 was commissioned by the Institute of Culture of Puerto Rico in collaboration with musicians from the Puerto Rico Philharmonic Orchestra. In 1997 she premiered a work for Foreign Bodies Dance Company developed with support from East Midlands Arts. She has also completed a work for Andanza entitled Futur/Perfekt: Recollections (1999).

Ana Sánchez-Colberg

získala medzinárodné uznanie ako choreografka tanečného divadla, ktoré je nové a výnimočné. V rodnom Puerto Ricu najprv študovala klasický balet, neskôr sa venovala súčasnému tancu. Po získaní bakalárskeho titulu s vyznamenaním na University of Pennsylvania si titul majstra krásnych umení (choreografia) dokončila na Temple University vo Philadelphii. Pod vedením Helmuta Gottschilda, ktorý bol asistentom Mary Wigman v Berlíne do roku 1969, trénovala techniku Wigmanovej, Joossa a tanztheater. V tej dobe bola Ana členkou súboru Terry Beck Troupe, tanečno-dramatického zoskupenia z Philadelphie a pohybovou koordinátorkou spoločnosti fyzického divadla Intuitons. V roku 1986 získala štipendium z Kultúrneho inštitútu Puerto Rica, aby mohla ísť do Anglicka ďalej študovať tanec a pracovať na PhD v Laban Centre Londýn (dokončila ho v roku 1992).
S Divadlom enCorps produkovala Alice, Alice, Alice… Are You A Child or A Tee Totter (1989 – 1990), ktorú odohrali v rámci Edinburského Fringe Festival, ako site-specific projekt v Newcastle Arts Centre a West Greenwich House a ako súčasť Spring Loaded 1990. Nasledovali Fragmenty: Prednáška o láske, ktorú uviedli v Oval House Theatre. Rodinné portréty (1993 – 1994) uviedli ako súčasť Continental Shifts na Edinburgh Fringe Festival a v londýne v The Place Theatre (Evolutions! 1993) a v Bonnie Bird Theatre. En Viva Voz (1995 – 1996) bolo prvýkrát uvedené ako dielo v progrese ako súčasť Resolutions!/Evolutions!1995. Získala podporu z Place Choreodrome 1995 a cenu Bonnie Bird. Konečná verzia bola uvedená v rámci Spring Loaded v marci 1996. V apríli 1997 spoločnosť uviedla Dnes nie sme kým sme boli vtedy… na základe diela Mladý muž a smrť Jeana Cocteau. Ana režírovala medzinárodný performačný projekt Futur/Perfekt divadla enCorps, skúmajúci vzťahy medzi históriami jedinca, mestským prostredím a pojmom globality. Projekt sa začal v Berlíne v roku 1998 a predstavili ho v USA, v Rakúsku, Puerto Ricu, Kolumbii a v Mexiku. V roku 2004 Ana uviedla projekt Mahlerove piate s podporou Rakúskeho Kultúrneho fóra a Divadla Museum vo Viedni. Dielo získalo prestížu cenu PRS Creative Collaborations in Music za svoj inovatívny prístup k tancu a živej hudbe v performance. V roku 2005 bol tento kus predstavený na medzinárodnom turné.

Ana Sánchez-Colberg spolupracovala s mnohými medzinárodnými súbormi. Vytvorila štyri kusy na objednávku Ballet Concierto de Puerto Rico: Ojos Que No Ven (1992), ktorý získal prvú cenu na Festivale karibských choreografov a následne bol zaradený do repertoára Ballet Concierto a uvedený v Lincoln Centre v New Yorku a v opere vo Wuppertali. Sartori (1994) a Entre Huella y Pisada (1996) získali ocenenia Corporation for Music and Scenic Arts (NEA) a Tejiendo Memorias (1998). Vytvorila tiež tanec pre Balet štátneho divadla v Cottbuse nedá sa to čítať…, s podporou British Council Berlín. Čudná múza, z júna 1997 vznikla na objednávku Kultúrneho inštitútu Puerto Rica v spolupráci s hudobníkmi s portorikánskeho Filharmonického orchestra. V roku 1997 malo premiéru jej dielo pre Foreign Bodies Dance Company s podporou East Midlands Arts. Vytvorila tiež dielo pre Andanza s názvom Futur/Perfekt: Spomienky (1999).