How does dance ‘heed’ the world and how does it facilitate our shift from per-ception to con-ception?
How does dance capture rhythm as it relates to time, repetition, movement and pause? How does tempo fit in with the extemporaneous? And to what extent does dance embody the ‘noise’ – the non-sensical voice of the random?
What does digital reality sound like and how does it reverberate in the ‘real’ world through our physical bodies?
Is memory auditory or somatic? What triggers it and what determines its syntactic structure when expressed?
Building on the main theme and premises of its previous, 10th anniversary edition, which focused on the multidimensional co-formation of the contemporary, ARC 11 tunes in to the ‘noise’ produced by dance as it constructs its own language, rhythms, tonalities, and volumes. It tunes in to the articulation of movement and calls upon us to comprehend the new dimensions that result from such polyphony.
It’s better in the Bahamas | PREMIERE
“The world has broken down.
So we are looking for another place where we would happily move, tomorrow if possible. But it seems that this place is made of the leftovers of our canceled expectations.
Of course, no one has been there yet to tell us what this is like.”
Dancers and creators Natasha Sarantopoulou and Ioanna Antonarou, who shone in the Prime Movers section of ARC10, return to this year’s core section of the festival, with the premiere of a dance piece where humor and ingenuity are masterfully employed in the staging of an obscure and undefined ‘tomorrow’ that is already here.
Concept – Performance: Natasha Sarantopoulou, Ioanna Antonarou
Dramaturgy: Alexandros Mistriotis
Assistant: Foivos Petropoulos
Music composition: Pavlos Katsivelis
Light design: Eliza Alexandropoulou
Set & Costumes design: Dimitra Liakoura
Photography: Alina Lefa
Special thanks to: Christina Maraboutaki, Giorgos Hanos, Christos Xyrafakis, Anastasis Karachanidis, and Alimos Municipality for the courtesy rehearsal space
Supported by Ministry of Culture and Sports of the Hellenic Republic
Flora Détraz has consistently engaged with the vibrancy of singing voices, the moving power of soaring sounds, the fun that the lack of synchronicity between images, gestures and noises produces.
Muyte Maker is an example of her creative idiom as it celebrates disobedient and irrational bodies through the exploration of medieval images, trivial ditties and grotesque paintings. The work examines joy as a physical and existential statement: joy as desire and physical distortion or contradiction, joy as creative potential going against the grain of morality.
The four women performers sing copiously, laugh polyphonically, dance blindly, and chat cacophonously, in an attempt to render the full complexity of their own bodies.
Conception: Flora Détraz
Performers: Mathilde Bonicel, Inês Campos, Flora Détraz and Agnès Potié
Set & Costume design: Camille Lacroix
Light design: Arthur Gueydan (replaced by Eduardo Abdala)
Sound design: Guillaume Vesin (replaced by Manuel Pinheiro)
Srtistic collaboration: Anaïs Dumaine
Co-production: CCN de Caen en Normandie, direction Alban Richard (Fr); RAMDAM, un centre d’art (Fr); Relais Culturel du Pays de Falaise (Fr); PACT Zollverein (De); La Place de la Danse CDCN (Fr); Les petites scènes ouvertes network (Fr), Alkantara (Pt), in the context of the European network Departures and Arrivals [DNA].
Residencies: Espaço Alkantara (Pt); O Espaço do Tempo (Pt); Les Éclats chorégraphiques (Fr); L’avant-scène (Fr)
The project received the financial support of Région Normandie and DRAC Normandie.
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