MARCHPRINT THIS PAGE
When I first invited the dancer Elizabeth Ward to work on what would become this piece, I did not know what it was going to be „about“ or what form it would have. What I did know, was that we were in March 2017 and that an unfathomable year had preceded on a national, international and personal level. In November 2017 electronic musician Frédéric Altstadt joined us. There are all sorts of things I could say here about political and private discomfort I have felt in the year that followed, as an actress, as a woman, as a Jew, as a lover, as a human, but I’m trying to keep this short. What I can say, is that it felt as though I perhaps have finally and fully entered adulthood.
Maybe I have never made a piece that was not about identification and it’s complexity. About positioning oneself. Maybe I have never made a piece that is not about how one thing leads to another, about process, about time, about history. Maybe I have never made a piece that was not about displaced biographies. Maybe I have never made a piece that was not about absence. Maybe I have never made a piece that was not about trauma. Maybe I have never made a piece that was not about travel. Maybe I have never made a piece that was not about the notion of home. Maybe I’ve never made a piece that was not about the notion of family. Maybe I have never made a piece that was not about the limits between the self and the outside world. Maybe I have never made a piece that was not about relating and relationships. Maybe I have never made a piece that was not about desire, about the sacred, about health, about the body, my body. Maybe I force myself to never make a piece that is not a confrontation about making a piece, about when I was making the piece, with whom and where, about how I was making that piece. In what conditions. Maybe I have never not made a piece about what I previously thought one should not do in public, about speaking to each other. Maybe I have never made a piece that was not about love. Maybe I have never made a piece that was not about silence. Perhaps I have never made a piece that was not about I and you.
I’m curious about the first person singular in a performance situation. Where is it a clearly defined space around an individual but still open enough territory so that your „I“ resonates with my „I“? Which „I“ can we share? I’m also interested in how using „I“ gives full responsibility about content to the person saying it. States a clear position. Makes it political and intimate at the same time.
During her first residency, Nathalie was interested in asking: What happened so that you and I are together in this precise moment in this space in front of this audience? What are you feeling? What echoes? What travels through our bodies? What is a conversation? On what other levels can we communicate? How can we share spaces? How can we look to the future together? Where can we find humor? Or what are other ways to survive?
Idea & concept: Nathalie Rozanes - Performance & creation: Elizabeth Ward, Nathalie Rozanes, Frederic Altstadt - Text: Nathalie Rozanes, Elizabeth Ward - Text editing: Nathalie Rozanes - Sound: Frederic Altstadt - Choreography: Elizabeth Ward - Space: Simon Siegmann - Dramaturgy: Jellichje Reijnders – With the support of: workspacebrussels, WIPCOOP, VGC - Thanks to: Elsa Lévy, Lucie Guien, Jean-Noël Boissé, Tunde Adefioye, Sofie Kokaj, Julie Calbert, Pol Heyvaert, Anne Meeussen, Beatriz Klewais, Elke Decoker, Valérie Wolters, Hedwig Snoeckx from Zephyr Wildlife, Marnix Rummens, Pascal Vandelanoitte, Laura Schroeder, Claudia Bosse, Rosas
No other productions found