AN ARRAY In 2012, I embarked on a solo project called “All I Need Is Here” that worked with emotion and affect as kinesthetic input. I was curious about how the effect of being seen–and ‘affect’ as a personal response to environment–might become sensory material for live composition. With “An Array”, 10+ years later, I’d…
Improkor – a collaborative exploration of collective sound creations The basic form of the experiment is that we – a group that can vary from time to time – stand in a circle with our eyes closed and create a common, oral sound process. The improvisations are explored through frames that change from time to…
Never The Sam Selves In its simplest form, memory is a continuous process of storing information over time. It allows us to remember and draw on past events to frame our understanding and behavior in the present. Thus, our existing views of ourselves are influenced by what we remember about our own past – and…
Pardon my French? Three movement artists speaking 8 different languages come together to research communication. How do the languages they speak influence their thinking, their use of metaphors/aphorisms and their movement language? Artists Iannes Bruylant, Gabrielle Emily Aidulis and Keren-Or Ben Shachar will research the impact of language on dance, investigating how elements like metaphors,…
On/Crying – The Gravity of tears Our experiment explores the act of crying itself. We want to develop choreographic ideas and a sketch for an installation that invites you to spend time in the landscape of crying in a collective crying space – with everything that lies before, inside and after crying. What would a…
Re-wilding – a relatinonscape Wild with Will – a relatinonscape I want to gather a group of people of different ages, genders and movement/dance backgrounds, about 10 people – it could be a couple of children aged 8-12, a couple of teenagers, a couple of young professional dancers, some mature professional dancers and physical actors…
The way we… Language and body language are the intricate threads that weave our identities. They unravel our stories, revealing the depths of our past and the essence of our being. In The way we… we look into how we are shaped by others as we would like to deconstruct our identity as it is…
‘StORM’ is an exploration of what stuttering can choreographically/scenographically/dramatically do in a regenerated mindset. The dramaturgy from Shakespeare’s THE STORM is the framework for the experiment with 12 participants, aged 10-70 years, who work regeneratively based on the Story Play model’s narrative theater principles. Each participant has one stick each as their only prop.…
Sign language – an artistic approach How do you create theater in an artistic group consisting of deaf and hearing people with different knowledge and ability to use verbal and sign language? And how can personal attachments to identity and language form the basis for a theater performance that includes both deaf and hearing people?…
