INCOMPLETE TALES OF SEVERAL JOURNEYS
Uferstudios / Berlin / November 2011
- Concept and choreography: Anna Nowicka
- Creation and performance: Jule Flierl, Hermann Heisig, Thomas Proksch, Claire Vivianne Sobottke
- Sound: Klaus Janek
- Painting: Lars Bjerre
- Costumes: Maria Gamsjaeger
- Light design: Sandra Blatterer
- Mentor/dramaturgical support: dr Christiane Berger
- Production: HZT, Berlin
- Premiere: 19.11.2012, Uferstudios, Berlin
- Further performances: 27.09.2012, Art Stations Foundation, Poznań
The main interest of this piece lies in exploring the constantly transformating world of images produced by the subconscious. The work is oriented towards bringing forth the dancers’ subconscious imagery and attempting to structure it in physical space with bodily movement. The work is not a linear process, rather it is an attempt to embrace each performers’ subconscious reality, hightening both dancers and
choreographer’s sensitivity in recognizing where these realities take us. Performers’ dreams become prompts for an exploration of instinctual desires and an exploration in the ability to respond to these desires. On the basis of individual dreams, personal themes are explored. A network of relationships and states are built through movement and a specific quality/mood? is created. Scenes and images interconnect into constantly changing situations. The choreographic structure becomes a game of perspective shifts, context changes and a collapsing of meanings. Perpetuating our relationship to dreams, the audience is challenged to give up logical thinking, recognize what is yet unknown and question what it is that grounds and un-roots us.
How can we recognize something we don’t yet know? When the old forms stop working, where can we find tools for recognizing and creating new reality?
choreographer’s sensitivity in recognizing where these realities take us. Performers’ dreams become prompts for an exploration of instinctual desires and an exploration in the ability to respond to these desires. On the basis of individual dreams, personal themes are explored. A network of relationships and states are built through movement and a specific quality/mood? is created. Scenes and images interconnect into constantly changing situations. The choreographic structure becomes a game of perspective shifts, context changes and a collapsing of meanings. Perpetuating our relationship to dreams, the audience is challenged to give up logical thinking, recognize what is yet unknown and question what it is that grounds and un-roots us.
How can we recognize something we don’t yet know? When the old forms stop working, where can we find tools for recognizing and creating new reality?