The project is a performative examination of the concept of the voice. It relates the dramatic voice of musical theatre with the voices of the citizens of Dortmund. Dancing or performing bodies act as translators. At the beginning of the project, a large number of Dortmunders met the singers of the ensemble and discussed their experiences with opera, as well as their doubts and expectations. The starting point of this dialogue was: “What should we sing about?”

Starting from this question, numerous interviews were created that often transitioned into true dialogue between citizens and singers.

After the interviews, the singers selected musical pieces that they saw as possible answers to the questions that were raised. This way, highly diverse materials were assembled. All these pieces were recorded in a studio. These musical answers form the second pillar of the project. 

The musical answers form an opera of voices with the material that is sung live. The composer Tian Rotteveel works with dynamic musical systems, sounds that are partially controlled by AI, and can be combined with live singing. First, the voices of the singers are disembodied, before being put back together again digitally.

The sonic space created this way opens a space of action for the dancers in which they playfully embody the suggestions and wishes of the citizens. Chimeras, fleeting beings, and shapes of possibility emerge, which can be combined with the material collected in the interviews.

In this way, a space full of possibilities - acoustic and physical - is created, in which dancers continuously translate the ongoing dialogue.

http://www.christoph-winkler.com/produktionen/the-voice-that-you-are/

Christoph Winkler is one of the most versatile choreographers in  Germany. His work covers a wide range of formats and deals with topics  both of a very personal nature as well as highly political contributions  to current social discourse. 

Born in Torgau in the former GDR, he was a multiple Spartakiad winner  in the disciplines weightlifting and judo as a teenager. He then  studied martial arts and breakdance, before being accepted at the  National Ballet School in Berlin. After the fall of the wall, he danced  in video productions for MTV and worked as a bodyguard and construction  worker. In the early 1990’s, he performed in underground techno clubs.  Then he studied choreography for four years at the prestigious School  for Drama “Ernst Busch“ and founded Klangkrieg Productions, a platform  for experimental music. Under this label, he produce work by numerous  acclaimed musicians such as the Venetian Snares or Current Value. At the  same time, he also curated the festival AvantPop and organized parties  and concerts e.g. for the Fuckparade. 

After graduating from the Ernst Busch in 1998, he consciously chose  to continue working as an independent choreographer in Berlin. Right  from the start, he received much critical acclaim and numerous  invitations to festivals for his innovative dance style and minimalist,  rigorously composed, discursive dance dramas. 

In 2007, he founded the agency BERLIN GOGOS with "ehrliche arbeit –  freelance office for culture” as a way to commercially market  contemporary dance and address the economic situation of contemporary  dancers today. 

His works consistently deal with topics that reference issues  currently discussed in society at large, but that also directly pertain  to and affect the art form of dance. 

Recent works are: “Dance! Copy! Right?” (2012) about copyright in  art, especially in dance, “RechtsRadikal” about neo-Nazi women and “The  True Face – Dance Is Not Enough”, an entertaining overview of protest  art forms, both 2013. The solo “Baader – A Choreography of  Radicalisation” was invited to the German Dance Platform in 2012 and  dancer Martin Hansen was named Dance of the Year by the German leading  dance journal “tanz” that same year for his role in the piece. In 2014,  Winkler produced the solo “Hauptrolle” with Ahmed Soura from Burkina  Faso about the role of people of color on German stages, as well as the  dance heritage Tanzfonds Erbe piece “Abendliche Tänze” about the  subjective process of memory. That same year “The True Face” won the  FAUST Prize of the Deutsche Bühnenverein in the category “Best  Choreography”; it was the first time that this prize was awarded to a  piece produced entirely outside the German municipal and state theater  system. 

In spring 2015, he created the very intimate solo “La Fille- Portrait  of a Child” together with Emma Daniel, in which Christoph Winkler  reflected on his relationship with his own daughter, followed by “Golden  Stars on Blue” about the European comunity and its symbolism. In 2016,  he produced a series of shorter pieces  entitled „Studies on  Postcolonialism“ questions white dominance in an art form that prides  itself in its internationalism. That same year, he was once again  present at the FAUST awards, when Aloalii Tapu was named „Best Dancer“  for the solo „Urban Sou Café“ . In addition, he also initiated a  co-curated „The Witch Dance Project“ with Franziska Werner/Sophiensaele.  In 2017, within three months, he premiered five new pieces: an ensemble  project, two new solos, his first work for younger audiences, and his  first collaboration with the Cantus Domus Chor. For CTM 2018, he will  present the wide-ranging project „The Complete Expressionist“, a tribute  in music and dance to the multifaceted pioneer and pedagogue Ernest  Berk. 

In the last years he has performed with great success some musically inspired productions such as “Julius Eastman – Speak Boldly” or “We Are Going To Mars”. 

In 2020 Christoph Winkler was awarded one of the Tabori and in 2022 he received the Deutschen Tanzpreis.

Christoph Winkler is one of the most versatile choreographers in  Germany. His work covers a wide range of formats and deals with topics  both of a very personal nature as well as highly political contributions  to current social discourse.
Born in Torgau in the former GDR, he was a multiple Spartakiad winner  in the disciplines weightlifting and judo as a teenager. He then  studied martial arts and breakdance, before being accepted at the  National Ballet School in Berlin. After the fall of the wall, he danced  in video productions for MTV and worked as a bodyguard and construction  worker. In the early 1990’s, he performed in underground techno clubs.  Then he studied choreography for four years at the prestigious School  for Drama “Ernst Busch“ and founded Klangkrieg Productions, a platform  for experimental music. Under this label, he produce work by numerous  acclaimed musicians such as the Venetian Snares or Current Value. At the  same time, he also curated the festival AvantPop and organized parties  and concerts e.g. for the Fuckparade.
After graduating from the Ernst Busch in 1998, he consciously chose  to continue working as an independent choreographer in Berlin. Right  from the start, he received much critical acclaim and numerous  invitations to festivals for his innovative dance style and minimalist,  rigorously composed, discursive dance dramas.
In 2007, he founded the agency BERLIN GOGOS with "ehrliche arbeit –  freelance office for culture” as a way to commercially market  contemporary dance and address the economic situation of contemporary  dancers today.
His works consistently deal with topics that reference issues  currently discussed in society at large, but that also directly pertain  to and affect the art form of dance.
Recent works are: “Dance! Copy! Right?” (2012) about copyright in  art, especially in dance, “RechtsRadikal” about neo-Nazi women and “The  True Face – Dance Is Not Enough”, an entertaining overview of protest  art forms, both 2013. The solo “Baader – A Choreography of  Radicalisation” was invited to the German Dance Platform in 2012 and  dancer Martin Hansen was named Dance of the Year by the German leading  dance journal “tanz” that same year for his role in the piece. In 2014,  Winkler produced the solo “Hauptrolle” with Ahmed Soura from Burkina  Faso about the role of people of color on German stages, as well as the  dance heritage Tanzfonds Erbe piece “Abendliche Tänze” about the  subjective process of memory. That same year “The True Face” won the  FAUST Prize of the Deutsche Bühnenverein in the category “Best  Choreography”; it was the first time that this prize was awarded to a  piece produced entirely outside the German municipal and state theater  system.
In spring 2015, he created the very intimate solo “La Fille- Portrait  of a Child” together with Emma Daniel, in which Christoph Winkler  reflected on his relationship with his own daughter, followed by “Golden  Stars on Blue” about the European comunity and its symbolism. In 2016,  he produced a series of shorter pieces  entitled „Studies on  Postcolonialism“ questions white dominance in an art form that prides  itself in its internationalism. That same year, he was once again  present at the FAUST awards, when Aloalii Tapu was named „Best Dancer“  for the solo „Urban Sou Café“ . In addition, he also initiated a  co-curated „The Witch Dance Project“ with Franziska Werner/Sophiensaele.  In 2017, within three months, he premiered five new pieces: an ensemble  project, two new solos, his first work for younger audiences, and his  first collaboration with the Cantus Domus Chor. For CTM 2018, he will  present the wide-ranging project „The Complete Expressionist“, a tribute  in music and dance to the multifaceted pioneer and pedagogue Ernest  Berk. 

In 2020 Christoph Winkler was awarded one of the Tabori Prices.

In 2022 with DEUTSCHEN TANZPREIS.