the guts company is a young, Dresden-based dance company founded in 2013 by Johanna Roggan and Josefine Wosahlo. Besides the anlysis of social themes, abysses and motivations, utopia and visions of potential togetherness or simply the drive to survive, the company´s artistic goal is to create contemporary dance productions, which touch the audience on a “gut level”.
Consequentially it´s the company´s and its performers strength to represent interiority and emotionality on stage.
Thanks to a two-year funding within the Doppelpass Fund of the Federal Cultural Foundation, the company cooperated with the Societaetstheater Dresden for the seasons 2015/16 and 2016/17.
For their first Doppelpass work - Das Eigene/ HEIMAT - the guts company was awarded the Ursula-Cain-Advancement Award - part of the Saxon Dance Award 2017.
Since 2018 the guts company was granted an institutional funding by the Landeshauptstadt Dresden.
Since 2016 the company extended and consists now of four steady members. Besides Johanna Roggan as Artistic Director and Josefine Wosahlo as Artistic Co-Director and Company Manager, Dana Bondartschuk responsible for Public Relations and Judith Hellmann as Financial Manager added the company. A project-based collaboration exists with Heike Zadow as Production Assistant. Moreover the company cooperates closely with the Frankfurt dance dramaturge Célestine Hennermann who accompanies the productions.
The company is highly engaged in the local dance scene, their cultural policy discussions and developments over the past years. Through its own contribution into the local art scene the guts company wants to strengthen and promote the region and its structure. Bringing Dresden based artists from various fields together with those from other cities and countries therefore is the intention and request. Thus the company especially wants to contribute to esablish an open, communicative workform with low hierarchies in Dresden.
In its artistic work the company is searching for a way of staging which is not only approaching subjects through aesthetic tools, but moreover conceiving them through a very physical movement language. Out of this way of working the search for so called bodily extensions is resulting. May it be through costume, using interactive systems or simply the for her essential work on communicable inner states. Thereby the bounds between genres is conctantly questioned or proves as obsolete. Its productions are accompanied by an intense movement and material research. Social relations and contexts, subjects of negation and human abysses are important companions at the moment. Its occasionally abstract pieces are not only staged in classical theatre situations. the guts company especially works across genres, also site-specific productions, dance films and performative installations as well as dance and in the broadest sense music theatre productions are belonging to its artistic bouquet.