This September the eleventh edition of Short Theatre took place. There were several IYMA performances programmed at the festival of emerging choreographers. Although theatre is transient. The organization E-performance gave it an after life. So sit back and enjoy the performances of Marco Da Silva Ferreira, Marco D’Agostin and Radoan Mriziga via the links.
In Hu(r)mano, four dancers lift themselves into an atmosphere which runs parallel to that of the real, elevating
into a dimension of collective human urban movement consciousness revealing, with a unnatural precision, their
natural condition of vitality. This is a constant search for the meaning of dance and the value of movement resulting in an abstracted and mutated form – a shared search that is sought intuitively and a tuned to contemporary dialogue.
Forming a statement that converges the multiple human – transhuman frame of mind and presenting that which is contain within the dancers themselves.
performed and filmed; 9-9-2016 @ Short Theatre Festival
Everything is OK presents itself as an experiment on the tiredness of looking at something.On one side a performer embodies an uninterrupted chain of movements, setting down signs, postures and dynamics recalling the ample field of entertainment, anarchically experienced since its origins to the present time. His dance is efficient in its anatomical articulation, revealing the concreteness of a body that’s on stage just to present itself or to be present to itself. His gaze, as if belonging to someone else, is constantly looking for the audience, delivering a state of bewilderment.On the other side the audience is subjected to a bombardment of images aiming to test the fullness of watching, the personal but unavoidable collapse, that moment in which the gaze will get tired and surrender.
During the performance, time for evocation is ripped up on the surface of an embarrassing linearity; events don’t flow, they don’t need any interpretation: they’re just offered to the spectators’ view, thrown out by a body container. Representation gives up to “presentation”, while every movement is like a run-up towards tiredness.
And it’s right here, in the emptiness that follows exhaustion, in the retreat of the body, in the need for transforming the choreographic score into a “practice of rest”, that you can find shelter: a fragment of past flickering in the darkness, just for a moment. An interrupted breath. A memory. A fossil. A story to be told again. Only one question is now left for this crowd of tired eyes: what’s left to see?
Performed and filmed; 10-9-2016 @ Short Theatre Festival
In his new performance, 3600, a choreography for four dancers, Radouan Mriziga approaches dance from an architectural perspective, with the body as central instrument for the performance.
3600 is a search for a linear and transparent structured choreography. A construction where the movement and narratives are distilled from the act of constructing visual objects. Where the body is used as a measurement tool. 3600 seconds of no separation between the body, spirit, and the intellect. A space where the dancers and performers become craftsman and architects. Inspired by modern architecture and Islamic art where the objects produced are a perfect meeting between aesthetics and function, where art is mathematically precise, aesthetically pleasing and symbolic. 3600 is a space where we perform all what we construct and the constructed is our performance.
Performed and filmed; 11-09-2016 @ Short Theatre Festival