If in the past we believed each piece to be a window into a specific moment of our research, we now understand each piece as a synthesis of life itself. As if each performance reflects a (re)vision of the world, of what it is to live, to destroy and build something with the other.
In the two years since Performances for Alkantara at the Alkantara Festival, we have developed a series of performances in non-conventional spaces in an attempt to isolate and question the elements of our research: the relation of gesture to words spoken and sung, the way in which objects inform movement, and writing as a performative act or choreographic action. Our need now is to transpose that research onto the stage without losing the intimacy, playfulness, and unpredictability of these performances. A synthesis, yes, mostly of what was left to do. No pauses, no blanks, no punctuation – in scriptio continua.
In the two years since Performances for Alkantara at the Alkantara Festival, we have developed a series of performances in non-conventional spaces in an attempt to isolate and question the elements of our research: the relation of gesture to words spoken and sung, the way in which objects inform movement, and writing as a performative act or choreographic action. Our need now is to transpose that research onto the stage without losing the intimacy, playfulness, and unpredictability of these performances. A synthesis, yes, mostly of what was left to do. No pauses, no blanks, no punctuation – in scriptio continua.
