Hamburg, 20/03/2018
By Anna Semenova-Ganz
K3 residency for choreographers presented the performance of Loïc Perela - one of the residents from the season 2017-18. During the residency Loïc could make an artistic research as well as develop his work, which was performed during three evenings at Kampnagel. The research theme is, obviously, - the voice.
Spectators are randomly sitting on the stage mixed together with the dancers. Public becomes the scenography landscape for the movement and the sound, the space is mapped in a way that every spectator can see and/or hear. In a deep darkness, the first subtle sounds of the voice are finding each other out of the different spots on the stage. These voices will sound in the unison, in the rhythm of breathing, they will communicate with each other, lullaby each other, will go high and low during the performance, but they will always stay one with the movement, which, in its turn, will last without interruption. The basic movement of work is the rocking; together with repetitive sounds it creates the traces of the loop effect, although most of the movements and sounds in the performance are just the traces... The whole picture is pretty dimmed, the movement appears from the darkness and disappears again, thanks to the voice there are no doubts of the action is going on. Fade in, fade out. The sound is taking the form, but next moment the form dissolves. Apart from five dancers the common voice they create becomes the sixth body on the stage.
This description of the piece lacks the precision so far, doesn’t it? Do they sing or dance? What exactly? But looks like this impossibility to grasp the form is the key intention of the choreographer: ones the sign of the shape emerges, he changes the development of the piece, deconstructing the hierarchy of the meanings, leaving spectator in the non-judgmental state filled with the associations - and in the darkness.
How long something should exist without becoming meaningful? Experience replaces the vision and keeps the performance sterile from any categories. This approach concerned also the work of the dancers behind the stage, who are ‘being in the piece’ instead of ‘performing’: before the rehearsals they practiced collective learning, researched on togetherness in the group and through the voice.
Although the spectator is fully involved into vocal and choreographic immersion and the sound waves do physically vibrate through every body, no one violates the privacy and there is also not any intentional contact: this solution preserves the work on the abstract level.
We are instinctively conditioned to look for the meaning in the quality of voice and to decode the message of the intonation, in this case, it is: don’t look for the message, listen to your intuition.
K3 residency for choreographers presented the performance of Loïc Perela - one of the residents from the season 2017-18. During the residency Loïc could make an artistic research as well as develop his work, which was performed during three evenings at Kampnagel. The research theme is, obviously, - the voice.
Spectators are randomly sitting on the stage mixed together with the dancers. Public becomes the scenography landscape for the movement and the sound, the space is mapped in a way that every spectator can see and/or hear. In a deep darkness, the first subtle sounds of the voice are finding each other out of the different spots on the stage. These voices will sound in the unison, in the rhythm of breathing, they will communicate with each other, lullaby each other, will go high and low during the performance, but they will always stay one with the movement, which, in its turn, will last without interruption. The basic movement of work is the rocking; together with repetitive sounds it creates the traces of the loop effect, although most of the movements and sounds in the performance are just the traces... The whole picture is pretty dimmed, the movement appears from the darkness and disappears again, thanks to the voice there are no doubts of the action is going on. Fade in, fade out. The sound is taking the form, but next moment the form dissolves. Apart from five dancers the common voice they create becomes the sixth body on the stage.
This description of the piece lacks the precision so far, doesn’t it? Do they sing or dance? What exactly? But looks like this impossibility to grasp the form is the key intention of the choreographer: ones the sign of the shape emerges, he changes the development of the piece, deconstructing the hierarchy of the meanings, leaving spectator in the non-judgmental state filled with the associations - and in the darkness.
How long something should exist without becoming meaningful? Experience replaces the vision and keeps the performance sterile from any categories. This approach concerned also the work of the dancers behind the stage, who are ‘being in the piece’ instead of ‘performing’: before the rehearsals they practiced collective learning, researched on togetherness in the group and through the voice.
Although the spectator is fully involved into vocal and choreographic immersion and the sound waves do physically vibrate through every body, no one violates the privacy and there is also not any intentional contact: this solution preserves the work on the abstract level.
We are instinctively conditioned to look for the meaning in the quality of voice and to decode the message of the intonation, in this case, it is: don’t look for the message, listen to your intuition.
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