LIZZIE J KLOTZ + MILLER (UK / CL)
Lizzie e Alexandra iniziano la loro collaborazione durante il loro incontro nella Kibbutz Contemporary Dance Company’s Dance Journey Program, scoprendo una forte base su cui poggiano interessi artistici comuni. Condividendo l’attrazione per la danza composta per il cinema, Lizzie e Alessandra sviluppano un interesse nei confronti dei modi di rappresentare il corpo nella performance live e attraverso i media.
You eat a pear
Combinando gli elementi della performance dal vivo e quelli del linguaggio cinematografico, il lavoro esplora la presenza del corpo umano sul palcoscenico e sullo schermo, analizzando le relazioni che si creano tra il pubblico e il performer attraverso tutti i mezzi con cui l’opera è declinata.
‘You eat a pear’ is an investigation of human communication and interaction. What are our behavioural habits? Our social habits? The work focuses on the person within the performer, developing actions of the everyday such as gestures, focus and body language, leading to a manic conversation of unrelated movements. Through the use of location, the work explores the relationship between person and space. What is the purpose of the space? What are the physical and emotional relationships that are established in the space? How does the space construct human relationships? Combining the elements of live and film performance, ‘You eat a pear’ explores the idea of human presence on stage and on screen, investigating the relationships established between audience and multi-mediated performers.
Lizzie and Alexandra began their work as collaborators during their time in Kibbutz Contemporary Dance Company’s Dance Journey Program, discovering a strong foundation of common artistic interests. Sharing a fascination with dance on film, Lizzie and Alexandra are interested in the idea of human presence, exploring the representation of the live and mediated body in performance. Through their work, Lizzie and Alexandra are also interested in the exploring the idea of intimacy in performance, searching to eliminate a sense of separation and distance, creating a more personal affinity between audience and performer. Their work is also marked by a clear interest in human behaviour and pedestrian movement, developing actions of the everyday to establish sense of the person within the performer. Lizzie and Alexandra are very happy to be visiting Naples, and look forward to Alto Fest 2014.
What is space? A question commonly raised in the field of dance. As a three dimensional artwork, dance relies upon space. Dance uses, embodies, shapes, engulfs and defines space. Just as space defines dance. There will always space, and it is our choice as dancers as how to use it. The theatre. The norm. A space that has been used for centuries upon centuries to house all forms of live performance. And a space that has been used with much success. But as Libeskind states, ’the problem is a general human problem, that people get to a point of success, and then it‘s easy to fall into the trap of believing it.’ Who would question the use of this universally accepted space? A space which frames. A space which flattens. The proscenium arch transforms this full-bodied art form into a two-dimensional image, viewed from the single perspective of the auditorium. Above all, the proscenium arch creates separation. The theatre space forms a physical barrier between audience and performance, which too often leads to a loss of intimacy and less engaging work. It is this relationship that I choose to question within my work. My work focuses on the idea of reestablishing the intimacy, eliminating this sense of separation and distance to create a more personal affinity between audience and performer. But how do we reestablish and requalify the performance space? From the traditional theatre space into an interactive and immersive environment, developing an intimate relationship between audience and performer. As Libeskind states, ‘a space which has not been colonized by either planning, architecture or by the history of theatrical production.’ A new space, supporting the innovations of new artistic work. To break from the constraints of the proscenium, ‘one could also get into other areas, see other things do other things.’ (Libeskind) Through immersive performance, a sense of intimacy can be reestablished. Theatre requalification.