Tuesday, 17 March 2015
Echoes_Zdenka Brungot Svíteková - designed for tΛt∫ by Zsuzsanna Komjáthy
The relationship with temporality
Usually there is something highly quaint in performances, which are on the point of charting the rhythm of the body and the possible meanings of its implications. This is indeed the case with the international teamwork lead by Zdenka Brungot Svíteková, the choreographer of `designed for tΛt∫’.
The performance is in fact a 50 minutes long, weird experiment with lots of improvisation and repetition: there are three men and two women on the stage, who are permanently squirming, even without a short break (except when they are physically immovably writhing) and who are soon circuiting the whole space in the theatre. But their improvisation is not derived from the ability and the playful nature of the body, and the repetition of their movements is not a simple, formal one. The movements are spasmodic and obligate ones, from the space and the time in the core of the body, or to be more precise, they come from a strange, invisible and nameless territory of the body in trance, which is as abstract and simple (but complex at the same time) as the surface of the rhizome by Deleuze and Guattari.
From a certain point of view, the most interesting point of designed for tΛt∫ may be the deep concentration on the faces of the spectators during the performance. They try to do their best to focus on a stable image of the movements, to find a fixed point to rest their gazes – but their attempts remain futile. And that is because once the organic and permanent vibration of the dancers’ body came to visibility, it could never go back behind its boundaries. But what is the bottom line of the vibration and why can’t it be ever stopped? Frustrating questions. The vibration may be a tool of a ‘new sensority’, which in its own way represents the take-off of the movements: the stillness, which is just like the vacuum, full of emptiness, and despite of its supposed steadiness and silence, it is full of microscopic movements too. Designed for tΛt∫ is kind of a ’still-act’ in this sense. It works as a “sort of generative force which allowed dance to become present [and which] initiate the subject in a different relationship with temporality” (André Lepecki) and with each other. As the choreography is written into the natural time of the twisting of the bodies (stillness as a rhythm), through the immanent power of the stillness, the choreography is able to make the current moment visible. And what is the most interesting characteristic of the current moment, or as Aristoteles used to name it, the nun? That it is out of time (time-not-yet and time-no-longer). So when Svíteková and her ensemble make the bustle of the nun visible through the vibration, they actually permit the being-out-of-time (they touch the core of the time). Since it would be impossible with trained and represented movements, the whole choreography is naturally built on improvisation. Improvisation is able to open certain channels of the body.
On the other hand, improvisation and vibration emphasize the permanent craziness of the world of being-toward-movement and through the hiccupping, the layers of perception. Actually the main goal of designed for tΛt∫ is in a sense very similar to a fabulous Hungarian performance, the Hodworks’ Dawn. Both choreographies try to lead the attention of the spectators to a kind of metaposition (because through repetition and monotony, they offer some new perspectives about the ontology of choreographies) and bring them to a place, where they can have the chance to be lost. The performances share the goal to offer the opportunity to enter a virtual space with full of absence, intensity and instability. However, there are some differences between the two performances: Dawn crosses a threshold to the Outside at a certain point in the choreography, whilst designed for tΛt∫ seems to find its virtuality on the surface of the threshold itself (to do this, they use very deep, murmured noise-music). The creators of the performance (Barbora Látalová (CZ), Zdenka Brungot Svíteková (SK/N/CZ), S. Cansu Ergin (TUR), Pedro Prazeres (PT/FR), Fernando Pelliccioli (ARG/I/D) and Carlos Osatinsky (ARG/D)) remain very conscious; they act just like a machine from the first minute to the last. And after we have the chance to melt into the surface, the rhythm changes its tempo; the movements slow down and explode to the theatre.
Zsuzsanna Komjáthy – KÖM by L1 Association