- CHORÉGRAPHIE, BABY !
CHORÉGRAPHIE, BABY !PRINT THIS PAGE
walking into the performance we realize that it has already begun. there is a bed on stage. the smoke machines are puffing. silence. but, no, actually, a very small speaker is playing ‘Smoke on the Water’. at the same time from the bar just outside the stage we can hear ‘Don’t Smoke in Bed’. the space is full of smoke, it’s everywhere, we cannot see well. there is a lot of garbage or something, it's strewn across the floor. will someone clean this up ? we sit on opposite sides of the stage. no. nothing at all happens. and this lasts for a while. and there is smoke and music (is it loud ? quiet ?). somebody is suddenly busy doing something in bed, they start, the other is cruising around the space. no. the other one is vacuuming the floor, walking around in small steps, vacuuming. have 15 minutes passed ? eventually you can see both of them on the ramp (there is a kind of ramp at the back of the stage). they still seem to be doing nothing. people continue walking in, which means the doors haven’t been closed yet. then. this other one wants to address the audience. she walks down towards the microphones. there are 6 of them each on their own stand. she takes one. ‘hello. it’s been 2 weeks. we have been researching this topic and now we would like you to help us, to help resolve this .. uh … huge.. mystery. what are all these young, 40-year-old choreographers actually emerging FROM.. ? is it a gas ..? a liquid, a solid ? is it a larva-state ? the toilet ? bed ? another life ?’. the audience responds. Gregor Kamnikar responds. he says something about restlessness and assertiveness. he says ‘the day you decide to assert, you are open to EMERGING in another immersion’. it doesn’t really make sense. but we accept it. for now. suddenly. the one who had been in bed, the one we almost forgot about because of all the smoke, she moves. she stands up. she bends backwards. she begins to do Experimental Limbo. we don’t really know what that is, but we are impressed. the other one, she moves around with her hands, taking care of the technical demands, she changes lights, the sound. Experimental Limbo begins making sounds. it’s BMC. it must be BMC. the smoke dissipates. there is less of it now. never none, only less. we realize that there is a lot of stuff on the floor, that it had always been there, there are bits of wrappers, there are white sofas, several of them, rabbit masks, plants in pots, kind of familiar objects, objects from other performances that we can recognize from having been there, or from pictures. one of them goes towards the microphones. she takes one, it seems she wants to speak. but then she puts it back and turns around. she asks for The Song. The Song starts. she is wrapping herself up in the cord of the mic. it’s ‘Blue Moon of Kentucky’, but not the Patsy Cline version. it’s a man’s voice. country-touch. a duet maybe. what time is it ? this goes on for a while.
smoke machine again. we cannot see anything anymore. then a voice begins to list something that sounds like titles. Bodies on Stage, Le Foie Mobilette, Brotherhood and Unity, Deliver the Liver, Phantasmatic Rebuilding of Something that Never Happened. then it stops. more silence. another voice, it sounds like a haiku. ‘through my pale blue eyes / the cauliflower is such / a wise instrument’. again silence. this lasts a while. at least 5 minutes. suddenly from the ceiling begin to fall down pieces of paper, sheets of paper. about 12 sheets of paper. and then they stop falling. the smoke is clearing again. the lights have changed. a disco ball is turned on. still silence. then, when the smoke has cleared enough we realize that Rok Vevar is sitting on one of the sofas, he must have been sitting there for some time, where did he come from, ‘Riders on the Storm’ begins to play, softly, he sits and he unwraps ginger candies, as he unwraps them he eats each one slowly, occasionally he waves a hand in front of his face to brush the smoke away. it's a nice gesture. we hear rolling. something on wheels is rolling down the ramp. it goes all the way from the top to the bottom. as the song finishes, a voice comes in, it’s the voice of one of them reciting the lyrics of ‘Si j’avais un marteau’ and then it finishes and then there is silence. smoke machine on. more smoke. filling the air. another voice, one of them. she says ‘hello. you are here. on the other side is _____’s liver. can we communicate ? do you hear me ? don’t be worried, it’s ok. it’s not an audition. it’s just a communication.’ the smoke has cleared. and we realize that Rok Vevar is gone. a duet starts, it’s the two of them walking, kind of walking, falling into each step, together, the steps match, left, right. one of them holds a yogurt container, a puff of smoke appears again, ppsssshhhttt, and then more smoke, until everything is engulfed.
Concept and performance : Jana Jevtović and Célina Larrèrović, with telepathic contribution of Dragana Alfirević
Support : Station - service for contemporary dance Belgrade, Ministry of Culture and Information of the Republic of Serbia, Nomad Dance Academy, LLB Network, Conseil des arts et des lettres du Québec, Museum Macura
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