TIME: 20.08.2019, 20:00
LOCATION: Kazalište lutaka Zadar
Where does the air I breathe in/out go to?
How much does breathing affect movements and how much do movements affect breathing?
How does their relationship come about?
What quality does breathing give me?
What is the frequency of my breathing and what rhythm does it create?
The starting point of the solo is the idea of manipulation and reorganisation of a relaxed body. In addition to performing physical tasks of simultaneously relaxing and controlling various parts of the body, and isolating and performing a succession of movements, I am also trying to recreate the senselessness given to the manipulated body by the person manipulating it. In order to devoid it of “human” logic, I use a computer code which randomly generates the sequence of six selected movements.
Palm- and footprints are the starting point of this solo. The research of the ways one can leave a trace is behind each movement and the use of space. The development of rhythm is inevitable; it is achieved by repeating a motif on different surfaces of the performance space.
The performance deals with the sense of touch. It researches our sensitivity to that kind of stimulation, how it travels through our body and what happens during that process. A touch affects our memory and our memories. It provides an opportunity to use the known and turn that knowledge into a new experience. Sensitivity, sense, memory, reminiscences. That cycle makes a person sentient; it places them back at the beginning and makes them start another story.
I am a body, but a body is not all I am.
I am both an undiscovered space and soul. My body fills that space with various sizes and volumes while moving and sleeping, while withdrawing and stretching.
A body filled with a void; a hungry, yet full body.
How many steps are hidden in my body?
Audio and visual material of a particular outdoor space is the starting point of the piece. By reading the outdoor space, certain space-suggested movement qualities, rhythms and patterns are being recognised and explored. After transferring such outdoor space in one’s own inner space, a new structure is built, both fragile and strong in the moment of performance.