WORDS



The Language of the Spirits, 2014/2015

The Language of the Spirits is a physical and inner work that challenges all senses: physical possibilities, sensations and imagination of the performer. We work on listening to the own musicality, opening all senses to use and record actively while moving, exploring the inner imagination, images and (different, contradictionary, multiple) characters that appear, opening up for ‘ridiculousness’ challenging the own physicality with ‘impossible tasks’ and the (a specific ) use of the weight of the body which we call liquid traveling through the body. In this work we don’t waste any movement or impulse and we use and recognize everything that comes to us by letting it emerge.

With the “Language of the spirits” we hope to have detected an instrument which conjugates the precision of attention and the execution with the faculty to reach the deep levels of the subconscious. The result of this practice engenders an imagination which puts in crisis the usual perception of preconceived categories: beautiful, ugly, harmonious, grotesque, returning to the body a sort of pre-cultural expressiveness.

It is a powerful tool. It is self-explanatory and this physical (original?) tool it shows aspects of body-spirit that are normally hidden and not shown, also not on stage. The work reveals the covered aspects of a person by accepting and showing the complexity of it including the unpleasant and ugly ones: doubting, judging, enjoying, suffering, questioning. This is why we consider it a politic of aesthetic.

We search for constructing a visceral communication, where the images created by the bodies, both still and in movement, can reveal under covered aspects and different layers of humanity.

(practiced & written with the group “Christ….Fuck!”. Gabriella Maiorino, Julia Berrocal, Kim Hoogterp, Stefano Taiuti, Alma Lindenhovius, Chris De Feyter.  2014)

excerpt from Supernova rehearsals, 2012

The feet are a sort of open passage for the whole body; you constantly feel the push even from a microscopical part of it. Every surface is a new point of departure: unexpected, tilted, unchosen.When you come from a jump the landing is already the departure for an other movement. This gives a sense of transformation of the environment through the possibility of seeing the body in constant shift and out of balance. There is No base, no home. But Constant Out of Balance.

People are used to take the responsibility of what they do. So, when they “want” to interrupt a movement”, you can clearly see their mind that says: now I’m gonna interrupt it. In the dynamic, this is gonna slow down the action and it will probably  kill the physicality of it. It is not easy to find back the feeling or the mental process of  you  as a kid playing in which you don’t consider taking the responsibility as something so relevant for the game itself. You need to find that instinct back.

I’m interested understanding the mental processes which bring to do things. Taking risk, intelligence, sophistication, roughness, depth or lightness. How do you arrive till there? which is the ingredients and how they are mixed together?

Being a witch, completely punk. Not giving a shit at all to be looked at.

It is important to look for the difficult situation. You have to find back some specific emotions that probably don’t exist in you now. Which are the ways you can use to re-find it? It helps me to put myself in difficult situations; cause this force you to access to different places inside you. It is like you can have a friend inside you that, in order to help you, becomes your enemy and challenges you to a fight, a duel.You have to wake up from a situation of blurriness

the work on the look it is fundamental, it could be the only tool we have in dancing. It is a metaphor of all the work we did. In it you read intentions but also you can misunderstand the intentions or you can be fucked in your intentions. It is the nest of any connection, line of tension, space for informations, right or wrong, to travel.

Often in dance there is no look or the look become suddenly tensed like over psychological when you charge it with a specific intention. I think  you can treat it as any liquid: it can transform in anything (in any moment), but also just be there, sensitive.

Because you bring around your face, you are also a person, when you dance.