A work constructed between the ballet’s bodily framework, an evasive and ambiguous subject, and a musical score that begins to alienate itself. Tentative and speculative proposals crashing various materials, and initiating a dialogue between the three.
In the piece, the ballet works both as a system of symbols, but also as a framework for new bodies. Instead of capturing the center of ballet, we try to find its external border and allow the work to facilitate for the viewer to ask: What and Where is the ballet? Where is the limit, and if not there, where is the shadow?
This is not another balett but rather a (de)-folding one. A body that operates all of its directions, planned and directed but without pre-determined representation. A return to the ballet where the paradoxical logic collapses. An after-political subject, which seems to stand for everything.
”Our third option is not one or the other, but both! A war for love, a loving war, a love for war, a waring love. A ring for love. lovar and wing, wloaevr.”
“[…]ideas about how belief or faith creates reality, not just if You believe in it, but even more when you believe someone else believes in it. […]the question is whether it really is riddles, with definite answers, or speculation with and for the audience” – Ellen Söderhult/Newspaper for dance, 05/04-2016
Concept/Choreography/
Project supported by: The Swedish Arts Council, The City of Stockholm. Premier at WELD in Sthlm March 2016. Also presented at Point Ephémère/Paris, DOCK 11/ Berlin, in the summer of 2016.
The premises the piece is performed in are wheelchair accessible.
