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INVOCATION 101* was produced on a manifold birth jubilee of KARL PRANTL (1923-2010) and created in stages (2023/24…) in cooperation with international partners.

INVOCATION 101* is interwoven with the film work excerpt by Michael Pilz, whose exemplary documentary footage ‚Der Lauf des Wassers‘ (‘The Course of Water’) illuminates in-depth the working philosophy of KARL PRANTL and his companions unlocking contextual narratives.

Choreography/Dance: Sebastian Prantl; Sound Scape: Cecilia Li; Film: Michael Pilz

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Sebastian Prantl, Markus Kupferblum and the Ensemble Schlüterwerke stunned the audience with their magnificent performance at the art exhibition „Zeit im Bild“ by Linde Waber at the Galerie Amart on the 26th of January 2018.

Real-Time-Composition/Dance: Sebastian Prantl; Director & Concept for text and singing: Markus Kupferblum; Actresses: Stephanie Schmiderer, Ingala Fortagne, Andrea Köhler, Music Performer: Therese Cafasso; Speech Performer: Markus Kupferblum

Sebastian Prantl opens the exhibition „DYNAMIK! …KINETISMUS“ at the Lower Belvedere in Vienna with a choreographic movement parcours through the various themes of the exhibition. Accompanied by the video artist Raffael Frick, the opening performance is recorded live in order to be re-montaged in an installation for the exhibition.
„A performance was the special highlight during the vernissage: The dancer and choreographer Sebastian Prantl impressed with an expressive parcours through the exhibition, referring to the paintings and exhibited works.“
(Wirtschaftsblatt)

Choreography/Solo Dance: Sebastian Prantl; Music Concept: Cecilia Li; Video: Raffael Frick; Curators Belvedere: Harald Krejci, Patrick Werkner; Premiered at Belvedere, February 2011

„In “KAIROS in[ter]vention I” at TAW Sebastian Prantl has composed the essence of his long, systematically pursued artistic investigation into a real time composition lasting more than one hour. The spectator, in his space, feels like he is on an island where time has stopped. The proximity to Far Eastern culture is tangible. With his ability to animate spaces, Prantl sparks off a wide range of emotions using minimal means. The atmosphere is transformed from gravely oppressive to cheerfully serene even as far as ironically amusing, it is hypnotic and captious – you cannot escape the magician. That is also due to the carefully composed musical direction of items with a common theme, by the New York composer David Lang, by György Ligeti and by Philip Glass some on tape, some played wonderfully musically on the piano by Cecilia Li.“                                                                                                                                                               (E. Wolf Perez)

 

„KAIRÓS in[ter]vention solo/duo“ at the Museum Mainz on occasion of the Finissage „Stone and Life“ featuring the sculptor Karl Prantl. A participatory performance among exmplary artefacts of the museum. Cecilia Li performs Satie and Chopin as a curious audience finds itself amidst a theatrical landscape created by Sebastian Prantl. „Short compositions of different styles played with virtuosity by Cecilia Li, are implemented by Sebastian Prantl in dance and expression – he also uses pantomimic canon. Requisites like white cloths and red feathers enrich the stage design as well as entirely unpoetic radiographs. Stones must not be missing. Prantl involves the audience effectively – an invitation to the world of art, an invitation to dialog.”
                                              (Birgit Knape, Mainzer Allgemeine Zeitung, 7.10.2008)

 

 

In „THE DREAMING OF BONES“ the protagonists Sebastian Prantl, Cecilia Li (and Mei-An Prantl) combine their experience of many years’ work with improvisation, space and their current study of an intermedia artistic matrix. The point of reference for dreaming of bones was William Butler Yeats’ play of the same name, which was inspired by the Japanese Nō-Theatre. Similar to Yeats’ text, the intermedia piece does not narrate as much as create atmosphere and rely on the power of images to call up associations. On this literary basis, the atmospheric soundscape of Scelsi meets the film opus of Duncan Ward and Gabriella Cardazzo: a journey through structures that tell of human life, but are more resilient and can therefore act as shaping memories. Beneath and with real objects, stones, bones, and wooden sculptures by Karl Prantl: the virtuous dance language of Sebastian Prantl.                                                                                                              (Ulli Moschen)

At the occasion of „PENTECOST CELEBRATION“ at the Herz Jesu Cathedral/Graz, June 2012

Solo: Sebastian Prantl

Organist: Ulrich Walter; Saxophone: Sergej Kanavalu; Drums: Raphael Meinhart; Choir of the Diözesan Conservatory Graz

Light Design: Nina Ortner

 

 

„SOKRATES“ a co-production with the ‚Austrian Art Ensemble‘ & Rainer Hauer (words and acting) for the Minoriten Culture Center/Graz and the Passau Culture Center, 1998.

Solo: Sebastian Prantl

Compostion: Werner Schulze.

„TABULA RASA“ at the occasion of the „City Partnership Karlsruhe & Tallinn“ – a collaboration with the Estonian Chamer Orchestra for  the Opel-Halle/Karlsruhe in 1992.

Solo: Sebastian Prantl

Sculpture/Installation: Antonio Calderara, Edwin Neyer, Karl Prantl.

„FRATRES“ at the occation of Gidon Kremers „Chamber Music Festival Lockenhaus“/Burgenland, in homage to the composer in residence: Arvo Pärt.

Solo: Sebastian Prantl

Installation: Akelei Sell.

Premiered at Lockenhaus Castle, June 1987

„FABIAN“ Second Price Award at the „Young Choreographers Competition“ of the Vienna State Opera together with the actress/singer Deborah Carmichael.

Premiered at Theater an der Wien 1984

„FANNY“ for the occasion of the“ Young Choreographers Competition“ of the Vienna State Opera, in homage to the distinguished ballerina Fanny Elßler.

Premiered at Theater an der Wien, 1984