ROTATIONAL DISTANCE is a dance performance with four dancers, directed and choreographed by Richard Oberscheven. Together with Julie Carrère, Amelia Eisen and Selina Shida Hack he develops new spatiotemporal structures of interbody distance. The basis of his choreographic work in the piece are the "public distance zones", based on Edward T. Hall's concept, which help to design abstract spatial structures for orientation that create proximity and at the same time explore the question of what they trigger in the dancers. Oberscheven is concerned with understanding, addressing and thematizing his observations in the pandemic era of physical / social distancing from a dance perspective. He is interested in using the condition to develop new ideas from it, to deal with the restrictions and constraints, to find a new aesthetic concept that understands the rules of distancing as part of the choreography, to develop a new piece. He wants to make the audience experience space, time, body, presence and transience through his new dance production ROTATIONAL DISTANCE.
Richard Oberscheven works professionally as a dancer, choreographer, lecturer, sound designer and DJ. He completed his Bachelor of Art in Dance at the University of Music and Performing Arts in Frankfurt am Main. During his studies he received a scholarship from the Studienstiftung des Deutschen Volkes. For more than six years, Oberscheven has been involved in shaping the independent scene regionally and in Frankfurt, both dance-wise and choreographically, and has produced sound for short films and stage productions. His own choreographic works have been presented in the Solo Duo Festival Barnes Crossing, Gallus Theater Frankfurt, Felina Theater Mannheim and Stadttheater Gießen. Inspired by Improvisation Technologies by William Forsythe, Oberscheven developed an analytical eye for detailed movement and the connection between body and space. He experiments with dynamic changes of positions and spatial directions and searches for natural movement elements to experience dance as living anatomy. His movement research Improvisational Matter was supported by the DIS-TANZ-SOLO grant program. DIS-TANZEN is funded by the Federal Government Commissioner for Culture and the Media as part of Neustart Kultur.