Back to bone strips dancing back to what it is made of. After 20 years of deconstructing movement, my interest no longer lies in the movements themselves, in whether some movements are better than others, but in the attention of the dancer to what produces the movement.
The choreographic practice engages the dancers in a specific decision-making process where they invoke the potential of every part of their bodies. At any moment, any part of their body could initiate, in any direction, at any speed, with any effort, for any duration. Through a rigorous training of paying attention to where movement is forming in their bodies, their attention is continually in the present moment. The dancers' attention is not on the movement that is produced, not on presenting polished, perfect moves. Their attention, rather, is on the emergent form, and in this gap the body has to adapt and may do some extraordinary moves. The dancers are liberated and empowered to allow whatever physical response is driven out by the imperative to respond to what their attention compels them to do. The innovative potential of the body to create new forms has been exhausted and in the wake of this collapse, the infinite potential of attention is exposed. We may find ourselves in a most extraordinary unfolding, where everything is unfastened, each moment a tear in time.
In the stripped bare space of Stary Browar’s Słodownia 2nd level, it’s choreographic decisions made by the dancers, in the moment, that burn the brightest.
Tickets available at Old Brewery information points (ul. Półwiejska 42).
She grew up on a sheep farm in Australia. She trained at the Victorian Ballet School, Melbourne, before studying release work, Body-mind centering® and Contact Improvisation at the European Dance Development Centre in Arnhem, The Netherlands in 1991. She established the Omeo Dance studio in Sydney, the site for her choreographic research for over 10 years, receiving a number of awards, including a fellowship from the Australia Council. Since 2004 she is based in Paris where she is a choreographic associate of the Atelier de Paris - Carolyn Carlson. Her work is supported by the French Government and is presented in France, Germany, Finland, the UK, Australia. She also creates works for other companies such as Two Fish Berlin, Laban Centre London, University of Melbourne, HZT University of Berlin where she is a guest professor, and teaches throughout Europe and Australia. Her ongoing research project, danse, is the foundation of her work in collaboration with the dancers of her company, in particular Céline Debyser and Max Fossati, and guests such as Andreas Müller, Andrew Morrish and Swiss guitarist, Hansueli Tischhauser.
choreography: Rosalind Crisp we współpracy z tancerzami
dance: Martyna Lorenc, Anna Nowicka, Janusz Orlik, Tomek Pomersbach, Julia Plawgo, Katarzyna Wolińska i Marysia Zimpel
production: Art Stations Foundation by Grażyna Kulczyk