mychoreography.org performed “The Rite of Spring” at Fabrik, Potsdam.

October 11, 2008, 3pm (15.00)

Live streamed through Skype.
mychoreography.org, University College of Dance, Stockholm in Potsdam

Amanda Apetrea, Emma Kim Hagdahl, Sidney Léoni, Sebastian Lingserius, Halla Olafsdottir,
Johan Thelander, Mårten Spångberg, Jessyka Watson-Galbraith
Comments by:
Lenio Kaklea
Neto Machado
Thiago Granato
Luís Miguel Félix
Miikka Rytty

impersonating mychoreography.org

15.03
Luís: space
15.03
Miikka: scratching at face represent empty emotions
Miikka: we see who do we want to see
15.04
Miikka: smile can connect people
Miikka: I must have a faith during the dark times too..
15.05
Luís: duration
15.05
Miikka: everything is just magical light
15.06
Miikka: innerlight is shining well.
Miikka: run.
15.07
Luís: the aboutness of this choreography addresses invisibility as a movement engine
15.07
Miikka: I watched arika kurosawa's ran and I got an inspiration..
15.08
Miikka: waving hand and nice pants
15.09
Luís: the space in inhabited by ghost of movements
15.11
Luís: using super hi-tech dispositive i'm able to make dancers disappear
15.11
Miikka: I wanted to have a long stillness in the beginning.
15.12
Luís: so what you see are fragments of movement with no beginning or ending
15.12
Neto: well when I was thinking about this performance I was really interested in how I could work with
the look of the spectator
15.12
a simple movements that goes through space quickly.
15.13
Neto: So tried to put spectator in different places in the room
15.13
Miikka: feeling of mtv generation cutting.
Miikka: call was dropped out..
Miikka: sorry guys.
15.14
Luís: you see the traces of a hidden choreography
15.14
Neto: and the spectators were invited to lie down on the floor to see it
15.15
Luís: you never know from where the dancer comes on stage, how he goes from one point to the other,
nor where will he go next
15.15
Neto: there is something that is based also I the principle of the stop motion
Neto: So the movements were based on the idea about the stop motion
15.16
Luís: so it's up to the audience to make all the necessary link and build all the passages according to
their desire in relation to what they see
15.16
Neto: how could we propose a different time and space working with the principle of the stop motion
15.17
Neto: in the music also we worked with this idea..
Neto: we worked with a music that was knew
Neto: that people would recognize but working with the idea of stop-motion they don’t recognize it
15.18
Neto: they listen to something that they cannot know what is it
15.19
Lenio: non fluid time
15.19
Neto: and this stop motion bodies, spaces, music it really propose a different experience
Neto: for the performers and for the public
Neto: because is really a time that have to be constructed by the performers
15.20
Luís: and it’s the connection among the performers that makes it real
15.23
Lenio: a live photo-documentary
15.23
Neto: I am not seeing
15.24
Neto: MY IMAGE IS LOST
Neto: I DONT SEEEE
15.24
Miikka: black screen. no sound.
15.25
Luís: stillness, slowness contra-posing strong impulses were choreographic tools that were offered to
the dancer
15.26
Neto: Well then our idea was to break this world of imagination also
Neto: to give to the public things but also take it out sometimes
15.27
Luís: in a clear referent to the great master Nijinsky
15.27
Neto: so they could have this feeling of having and not having.
Neto: feeling of lost
Neto: but also working on the idea of not creating a fantasy
15.28
Lenio: I can’t recognize the intentions, nor the movements
15.28
Neto: it’s not something that people would see and just think that it was a fantasy
Neto: when they entering in the thing the thing stops and then the dream the fantasy, the fiction and the
theater, - is broken
15.29
Miikka: a green screen...and some kind of noise behind.
15.30
Neto: but also
Neto: I think that is why some parts of what we do are so theatrical or so dramatic in a way
15.31
Neto: because it comes to fight with this idea of fantasy and reality
Neto: because this effect of stop motion is really something that bring the idea of fantasy
Neto: the unreal
15.32
Luís: let me please go back to the question of invisibility:
using stop-motion technique, that my dancers have been practicing for many year now, I could address
the "in-between" movements with out falling into representation
15.32
Neto: but creates an interesting atmosphere that make people really buy it, really go with us in this
fictional world
15.33
Lenio: I see a piece made from the "meta-whatever exists before"
15.34
Luís: we develop a speech in relation to an event that is constant change but that is not completely
perceptible
15.36
Lenio: or maybe what is there before
Lenio: but never the thing itself
15.36
Luís: off course, in capitalist society, appealing to the use of imagination was a surplus in the making
of this piece
15.37
Luís: the final result also raises some question about media, I think the vocabulary and technique
reflect a tendency to blur frontiers between dance, photography and video
15.39
Luís: the frozen reality that this piece evokes questions in relation to the position of the audience
15.40
Lenio: i see fantastic accelerations
15.40
Luís: can a movement be invisible? when a tree falls in the forest...
15.40
Neto: well
Neto: we created this work in 2000
15.41
Luís: does co-present in time and space still characterizes the semiotic of dance?
15.41
Neto: but today we are working again in this because we think there are a lot of things that we didn’t
know how to deal with in with time, almost ten years ago, and it's interesting to see how we relate with
that today
15.42
Lenio: people moving into space, from one place to the other, without ever seeing the actual shift
15.42
Luís: i'm very seduced by making visible the invisibility
15.42
Neto: for example you can see in this video the girl that is in black by the white wall is one of the
public
15.43
Neto: she started lying down but then she decided to sit
15.44
Lenio: and now I’m alone again
15.44
Luís: sudden changes from empty to full, from slow to fast, from silence to noise...
15.44
Neto: This is god we ask to the audience to start in the floor but they can sit or even be up when they
want
Neto: they choose how they want to see what is being presented
Neto: there is also a points that is interesting for us that is the tradition of the religious poses
15.45
Luís: produce an overwhelming sensation in the audience
15.45
Neto: we have a period of study about the body in side religious celebration and faith also
15.46
Luís: dance becomes an object, then an event and then a thought
15.46
Neto: and then in side of our material there are some positions or movements that come from this
Neto: but with this effect of the stop motion they get lost in side of everything so this reference is really
subtle
15.46
Miikka: I wanted make a centre figure of the piece from that person who lied on the floor.
15.47
Neto: but is in there
Neto: I don’t know if people can see it but there are some that recognized already this reference
15.48
Neto: as the choreography is really precise
Neto: we needed to rehearsal a lot before presenting
Neto: everything is based on the music
15.49
Neto: but the music as the movement is based on the stop motion, so the way of putting this together
was really difficult to understand
Neto: Well
15.50
Miikka: let me know if you need help again any other time
15.50
Neto: It was really interesting for me
Neto: thank you