Establishing their own chronology, two bodies set in binary opposition disrupt and transgress the laws of time. In this heterotopic landscape symbols and fictions of Western Culture succumb to the will of nature. Places, icons, systems of power and knowledge, and reflections of the contemporary status quo are violently invaded by external forces. Here stable structures deteriorate and parasitic elements take hold. The object decomposes and in order to evolve, adapts to survive. The body and its freedom of movement is in turn affected and changes.
The autonomy of the body‘s rhythm and its verticality becomes platform of an emergent symbiosis and exchange. In this choreography, two individuals dynamically set and reset their limits in space. Fashioning visual metaphors by means of utilizing the body and its proportions in complementary or juxtaposing ways, this piece draws on different movement and behavioral qualities in order to transmit divergent physical and psychological states. Employing formal strategies such as structural incompleteness, irregularity and asymmetry, the dancers create through the relationship of their bodies a sense of architecture which fosters a narrative.
As this narrative thread develops through the arch of the performance, so to a strong emotional connection with the audience is established. Broaching subjects such as the multiple roles and functions a person undertakes in contemporary urban society, and its impact on the human body, identity and freedom of movement, the piece ultimately evokes an awareness in the viewer that human race lives on the ruins of its own history.
Choreography + Dance: Polyxeni Angelidou and Sofia Karagiorgou
Sound: Cravune, Costumes: Cristina Lelli, Set: Karla Marchesi
Dramaturgy: Elisabeth Leopold
Presented in Ada Studio Berlin (June’18), Eschschloraque Rümpschümp Berlin (March’19), SKG Bridges Festival in Thesaloniki ( May’19), Wohnzimmer Finow – Theaterzentrale in Eberswalde (Aug.’19) and The walls we build – International Arts Festival in Hildesheim ( Sept.’19).