I think horses would like this show

- We call on them a lot in this piece. Jared was the theatre graduate from New York that was headed for Broadway when the Twin Towers fell before his eyes, and he decided to move to Berlin instead.  

What does the title Until Our Hearts Stop mean to you?
Maybe it is questioning what forever is? 

Who would enjoy seeing the performance, and why?
Happy people, sad people, lonely people, wild people.. I think horses would like this show. We call on them a lot in this piece.

Tell me what it was like to work with Meg Stuarts Until Our Hearts Stop
It was really like being in a club, a club house. meeting everyday and sharing whatever you needed to share or experiencing whatever it was being offered. Bringing your magic and witnessing everybody else. Our meetings were a practice.. a practice of seeing what would happen, what could happen. it wasn’t so much a rehearsal, but a place to let things come from if that makes any sense. Somehow the things came to us.. I know plans were made, but the time unfolded. We learned with each other. We learned how we can be together. Or not. 

In what way does Megs work methods differ from other choreographers you´ve worked with?
Meg works with what is already there (in you or in us and in her) and then turns it up or down. From what i understand, she starts new with every project. She approaches every project in a different way.. that way she won’t end up with the same thing.  To me, that is so brave and inspiring. so she is really working with all that is there.. now. It can be a feeling or a flash, but that’s real and can manifest into something else than you think it would or could.  

Photo: Maarten Vanden Abeele
Until Our Hearts Stop Portraits Iris Janke Jared

Jared Gradinger

Jared Gradinger is a performer and artist living in Berlin. Since 2002 he has been working as a dancer, choreographer, actor, director, curator, dramaturge and teacher. In 2011 Gradinger got awarded performer of the year by Tanz Magazine for his work with Jeremy Wade, Angela Schubot, William Forsythe and Constanza Macras. He has an ongoing collaboration with Pictoplasma and Jeremy Wade and is collaborating with Nature on a garden for Uferstudios Berlin. With Meg Stuart, he collaborated on Politics of Ecstasy (2009) and UNTIL OUR HEARTS STOP (2015).

In three words- who are you?
Curious, lazy, light

What´s your professional background?  
I grew up in upstate New York and went to a University in Pittsburgh where I received my diploma in theater. I was headed for Broadway. I moved to NYC straight after and began dancing because theater felt dead there, and in me. I had enough of talking. The twin towers fell before my eyes and i decided to leave. In the same moment, I was invited by Constanza Macras to make a work in Berlin. I moved there in 2002, worked to help establish the company Dorky Park, and then began trying other things and developing my own work. Now making gardens and new kinds of collaborations, and have been living and working there ever since. 

What´s your definition to the word “dance”?
Transformation and imagination of form, seen and unseen in space-time

When is your job frustrating?
When i get injured, when I want to be good

How´s a typical work day for you?
There is no typical work day. If i am rehearsing sometimes it might be a normal work day/week with 8 hours a day. But sometimes it´s a walk through the forest, or planting seeds and composting soil. It might be 5 coffee dates. Or yoga in my house. Meeting strangers or helping a friend out with their work, going to meetings about the future of places and things. And then coming home to crash or relax. 

How do you contribute into the process of making the performance?
I bring what I am interested in. Things that may seem unrelated or right on the point. I have to dare.. to try things, embarrass myself, learn to say yes, learn to say no. And support what is happening around me. In this piece it was more about creating space rather than taking it.

Until our hearts stop, 10.–12. March

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