Gilgameschin / 2005 Gilgameschin is an interdisciplinary dance and art performance dealing with an ancient literary tradition of mankind; the epic of Gilgamesh. We are attempting to emphasize the psychological development of Gilgamesh by becoming more and more human according to an everyday life environment and to reinterpret the emerging set of topics by the means of dance, music and visual art. The basic starting point of the performance is the artists themselves and the idea of fluxion between the different branches. In order to comprise the human being in his everyday occurrence into the performance the project was planed as an outdoor- performance. The audience becomes aware that the functionally modified public place turns through the performance into its own artistic context. Choreography / Dance: Karen Boesser Visual Artist: Lilla von Puttkamer Music: Eva Schampaert Video: Andre`Wenzel Outsite Eye: Shinsaku Yuasa Production-Dramaturgy: Ana Nele Riepl Performance places: Theater Garage, Antwerpen, Belgium / Feuerwache Cologne, Germany / Ehrenhof, Düsseldorf, Germany / Theatermuseum Düsseldorf, Germany / International Performance Festival Yerevan, Armenia Sponsoring / Funding: Culture Department of the city of Düsseldorf, Carl Richard Montag Foundation / supported by Theatermuseum Düsseldorf, Germany Production: Karen Boesser Press review: Whole room will be screen / Friesland Post 02.05.08 The dancer Bösser presents the astonished art lovers a performance on a 40 square meters large existing image. With her movements she continues drawing the lines of the art work. It is an inspiring motion blur between the artist and the artwork. The image modified and is re-created also in the conciseness eye of the many art viewers. The dancing action transformed the changes into a new supplement and became a memory train of impression. Finally, there was plenty of applause for this most unique dance performance in the Artisthaus. Neue-Westfälische 05.02.08 (...) A human occurs in life, carefully consider scrutinizing, and leans angry against sealed (life-) doors, and finally makes the best of it (...)