Something more about performances of CDP 2016
Andrea Miltnerová & Jan Komárek: Tranzmutace
What were the initial aims and visions with Tranzmutace?
The aim of all my works is “creative excitement“. At the beginning, there is no plan or theme, only a vision, an image. With Tranzmutace, the image was a clear one – a woman with a fan made of ostrich feathers. The symbols determine the fate of the character - the feathers allow the woman to fly... The very story is then built up from day to day during the rehearsal process. The characters and their actions crop up naturally within the creative process, surprising us with their urgency, delimiting their territory on stage, their positions growing ever more stronger. It is only up to us and our fantasy how far we allow them to go and what trajectories their stories shall take. This is the most beautiful state of creation: the materialization of the unpredictable.
NANOHACH / Michal Záhora: DEVOID
What was specific about the creation of DEVOID, in what sense was it different from your previous projects?
The most extraordinary and curious aspect of my work on Devoid was the encounter axis. Both the theme and the content of the piece derive from life stories shared by real people, people who were daring enough to let us into their lives. As a matter of fact, the project turned into a catalyst of complex human fates. On the contrary, these fates gave birth to an honest and authentic artistic testimony.
Nadar Rosano & Prague Pride: Dogtown
To what extent have the dancers influenced the piece? Is there an optimal level of dancers’ involvement in terms of co-creating the choreography?
It is about trust that creates between us during the process, and when there is trust I am open to hear the point of view about every minute in the piece. During the process and the imprivisation new ideas are born so they have a lot in the building of the creation.
Spitfire Company: Sniper's Lake
Could you formulate the theme of the choreography and tell us about the breaking moment that convinced you to dedicate the whole piece to this and only theme?
Sniper's Lake is the final part of the trilogy entitled Human being in extreme situations which we opened with One Step Before the Fall, a “boxer“ piece on exhaustion and Parkinson disease. Part two materialized in a dance installation dealing with the issue of trauma – Animal Exitus. Sniper's Lake explores the situation of a human being who is thrown into a critical situation and consequently forced to act. In this specific case, the acting and the choreographic language assume the form of running. We were working on the piece unaware of how much the world would change. We had no idea of what was coming in Paris or Brussels, we had very little idea of the imminent refugee crisis. They are a reality today, a reality that confronts this piece, exposing it in blinding light and driving us, me and Miřenka Čechová, for the first time ever in our careers, to cluelessness. We indeed don’t know how to stage the piece anymore. There seems to be an only solution – to run.
Tereza Ondrová & Peter Šavel: As Long as Holding Hands
As long as holding Hands is your second common duet. What is the difference in terms of movement and structure between this production and the previous Boys who like to Play with Dolls?
Tereza: To me the two are inseparable parts of a whole. And the whole is weaved of very specific and unique creative work that is deeply connected with our personal lives and our relationship alike. It is very hard to describe it in words as the whole work is based on an indescribable communication of physical articulation and inner chemistry. Also, our collaboration is one anchored in maximal trust and all mistakes and failures are not only allowed but also welcomed as a sort of bonus. It is thanks to this that one can dare to risk and push the limits. Thank you, Peter!!!
Peter: We spend a lot of time pondering this question during the rehearsal process and I admit it was a source of stress. To me, presently, it is irrelevant and rather irritating.
Obviously, this being our second project and us both standing on stage together again, there must be some points of reference. As a matter of fact, in terms of structure and method, our aim was to intensify the connection that seems to work between us and that I, personally, consider as magical. More than to go further, I believe we wanted to go deeper with As Long as Holding Hands.
VerTeDance / Jaro Viňarský: Chybění
What was the biggest obstacle or crisis you were confronted with during your work and in what ways has overcoming it changed you and the piece?
The crucial decision I had to make was to what extent stress out Markéta Stránská’s handicap, to what extent deal with on the social level and question it. And I have chosen not to. Quite on the contrary, I’ve decided to integrate those who, at least at first sight, don’t miss anything. I wanted all dancers to be equal partners and make the most of this encounter of ours. And I have learnt that the majority society has very deformed ideas on the process of integration. It is sad to learn that people think they are better off if none of their limbs is missing. My approach has turned out to be right when were performing the piece in Moscow at a handicap festival: the people there, they felt relieved to be involved as equal partners.
Věra Ondrašíková: GUIDE
Were it not for financial limits, would your piece be any different? Can you imagine it in an extended, more expensive version?
We would definitely know how to spread our wings wider and I am sure we would enjoy it. A plenitude of ideas cropped up within the creation process that eventually had to be dismissed. Also, fantasy was spiking from the beginning as we were rehearsing in a 4x5 metre space and had to visualize what it would eventually look like in a larger space. To answer the question, yes, if it weren’t for financial limits, Jaro Ondruš would really travel in time.
Jiří Bartovanec: ENTROPY #224
How has your relation to this piece developed over time, considering your double role of choreographer – dance and the number of times it has been performed?
The artist’s relation to a piece of art may assume diverse forms that are determined by circumstances as they are by conditions. With my relations to my works it is similar to my outsider identity – it is persistent, it determines my relationship to the world around, yet it is never black-and-white. It is a fragile relationship, one to produce strength and motivation for mutual listening. The existence of unspecified parts and bits opens the door to action, reaction and interaction. It is within these that I discover and formulate my relation to a given piece.
Farma in Cave: Disconnected
When watching the piece, do you feel the urge to intervene and if so, in what way?
It occurs from time to time that while sitting and watching the piece, I “dance“ all the parts. From the outside it looks like a chain of frantic motions trying to hypnotize the performers into my own rhythm. The only effect, though, is that which I produce on my co-spectators. Which is why I’ve tried to be more careful lately...
Lenka Vagnerová & Comp.: GOSSIP
How much leeway is there for your dancers to improvise freely?
There is more of it at the beginning of the creative process, as I need them to indulge in searching and getting the grasp of the goal of the piece. We get through a plenitude of tasks that I know right away won’t be used in the piece but they facilitate our relation to the theme. Even though I am the one to build the movement and I have a clear idea of its form, the specific construction blocks are always made of the dancers’ characters and skills. I try to listen and get inspired as much as I can. Often they lead me to new paths – those are the most motivational moments.
