Zurich 31 August 2013
Zürcher Kantonalbank Patronage Prize and Acknowledgement Prize 2013
Today on the occasion of the Zürcher Theater Spektakel 2013, the Zürcher Kantonalbank Patronage Prize and the Zücher Kantonalbank Acknowledgment Prize were awarded by Corine Mauch, Mayor of Zurich, and Dr. Jànos Blum, presidium member of the Zürcher Kantonalbank. Following intensive discussions, the jury reached a unanimous decision: The Zürcher Kantonalbank Patronage Prize of 30 000 Swiss Francs goes to the Argentinian actor, dancer, performer, director and choreographer Luis Biasotto for his «Dadaistic» production «Africa», a revue defying all theatrical conventions and challenging the audience in an intelligent and comical way «to ponder on alleged certainties».
The Zürcher Kantonalbank Acknowledgment Prize of 5000 Swiss Francs goes to the Philippine performer and dancer Eisa Jocson for her solo «Macho Dancer», a work with «rigorous concept and excellent execution», in which she investigates the «boundaries between legitimized live performance and seduction as popular and public entertainment».
For the Zürcher Kantonalbank Acknowledgement Prize 2013 all of the works presented in Short
Pieces were nominated:
• Surjit Nongmeikapam INDIA: OneVoice
• Sung-Im Her & Su-Mi Jang SOUTH KOREA: Philia
• Venuri Perera SRI LANKA: Thalattu
• Moe Satt MYANMAR: Face and Fingers
• Chuma Sopotela SOUTH AFRICA: Inkukhu ibeke iqanda
• Mamela Nyamza SOUTH AFRICA: Isingqala
• Ali Moini IRAN: My Paradoxical Knives
• Eisa Jocson PHILIPPINES: Macho Dancer
• Sonya Levin RUSSIA: The Day Before
The members of the jury were: The South African performer Ntando Cele (33), the Argentinian playwright and director Cynthia Edul (34), the Samoan author, actress, director, and curator Louise Tu’u (35) as well as the writer and dramatist Lorenz Langenegger (33) and the performer and choreographer Martin Schick (35), both from Switzerland.
Statements of the jury
Eisa Jocson, Philippines: «Macho Dancer» (Acknowledgement Prize 2013)
One amongst the nine works stood out for their extraordinary achievement in performance and a true live experience from beginning to end. Shoulders rolling back and forth exaggerate the palpable effort and control. The sinew of the performer and the performance become apparent as the audience gaze and keep watching, eagerly anticipating and deciphering every move, unwittingly objectifying and implying themselves into the dance.
«Macho Dancer» is a continuation of Eisa Jocson’s blurring and investigation of the lines of legitimized live performance, seduction as popular and public entertainment, placing her own body squarely into the performance arena. A rigourous concept with excellent execution, «Macho Dancer» is a work whose seemingly base foundations reveal more about the unease of the observer and provoke a deeper questioning of what is being revealed on and offstage.