ENCS

The research articulates itself on translation. Translating, re-writing, not only ourselves in the world, but the world in us, as living beings amongst other living beings. A translation like a mediation between the plurality of cultures and human unity. The essence of the translation is open-dialogue-interbreeding-decentring. Ultimately, to translate the stranger within us.

Translating, and suggesting a writing style, a language starting from the body in which there are several languages because there is more than one desire. Dance is not a goal in itself for me, from an aesthetic or formal point of view. It is more the means for the body to experiment, to test its limits, its identities and its possible futures.

It is a process of inner transformation, nourished at each moment by the most conscious and immediate experience of life. It’s not simply about giving something to show, it’s about giving something to create, to re-create oneself.

This movement workshop will be a place of concentration where physical challenges blend with the imagination. This will be work of exploration, improvisation and composition: it is not about skill but about arousing the imagination of each participant by providing tools that can themselves be changed.

Each participant is expected to play with him/herself via a range of media: texts, photos, paintings, events, dynamic verbs, forms, colours, materials, animals, and elements of nature… Because our body contains elements arising from all our experiences and sensations, what we have heard, seen, touched and tasted.

Like a peculiar acrobat in a playful state, each person has the possibility to construct different choreographic universes or phrases during improvisations and constructions (individual and/or collective). These alternate between theatrical and formal, banal and stylised, simple and complicated, extravagant and sober, large and small, emotional and cold.

At first this is an individual exercise, a fundamental experience in the creative process. Only the body engaged in the work can feel the precision and accuracy of a gesture, the evidence of a space, of drifting, of hesitation, and error. In all the exercises, it is equally important for the participant to learn how to observe as well as to learn how to do.

Maintaining a balance between structures and risk-taking, accepting blunders and aberrations, while maintaining playfulness during freer, wilder, more spontaneous, instinctive and collective improvisation sessions. Pushing a movement beyond equilibrium triggers disequilibrium, entering into the fall and, to avoid falling, we advance. This is valid both for physical movement and the sensible states.