PERSPECTIVES IN MOTION
“What do they do, what do they think, what do others feel? I’m watching. How do we get started? I got stuck! Here. How do I get out of this? Now. How do you contribute to what is happening? I see. I’m focused. How do I propose something? It’s too much? I want to be consistent. Again they make the same movements! Why do I do this? How can I listen better? What a connection! What a moment! ”
There may seem to be questions and observations that concern us in our daily lives, but in fact they are the questions and ideas from which we will begin this improvisation performance and which will knead us to its end.
We invite you to follow us in a fragile process where you will be able to see in detail how we make real-time decisions and how they create unpredictable compositions, how we change and are changed by the space in which we improvise, how we hesitate, block and then find solutions and especially as when everything seems to happen in the next second, EVERYTHING happens.
It is a performance of movement and dance (it may contain traces of music, poetry, text, image.
Performers will be PETEC artists as well as other dancers, musicians, actors, special guests interested in improvisation as a performing practice.
We will conclude with the involvement of the desired audience in exercises / improvisation scores and / or with a focused jam session.
VIRGINIA: “As a dance artist I have been fascinated by improvisation in dance for many years. And the fact that I do not like everything appears under the name of improvisation, makes me think that there must be something specific, a necessary condition, to place improvisation on a distinct place among the artistic categories.
When you write, compose, choreograph, you go through a long process of sorting words, sounds, images, movements, to create something that is artistically relevant. I think that when you improvise you should do at least the same thing in a much shorter time.
In a choreographic work but also in an improvisation performance what interests us are the compositional choices made by the artist. Some might say that when you do not have enough time, you can only make poor decisions in terms of composition (eg repetition of motor automatisms), but what if you were just able to make the right way quickly decisions relevant to the composition of the moment is the skill of the improvisation artist?
Next to the PETEC artist collective I ask questions, I propose tests and research in this field, in order to offer to the public moments of improvisation similar to those that have inspired and fascinated me over time with other artists. ”
PETEC: “Look at the world from this perspective! This is what has to be said now. ”States the artist through his work or act. Without this state of urgency and certainty nothing can articulate. “This is a particular point of view that may have universal reverberations,” he thinks. Otherwise it cannot act. He wants to refer to something, even when he can’t find his name, or the words seem inappropriate to him.
We invite you to a series of dance improvisations, in which we will try to shape the space and manipulate time, moment by moment, to create a bridge to what we feel, think and live as artists of the movement.
Virginia article link:
“Contemporary art reflects the realities of the time we live in the same way that art in general has done over time. Because we live in a moment that is freely claimed in thought, expression, manifestation, the presence of metaphors, masks, accessories seems irrelevant to me. scenographic in order to “reach” the viewer, or at least the viewer we look at as a free resemblance in thought and action. in real time and proposes the viewer to take the freedom of interpretation according to his aesthetic, practical and / or philosophical needs. ”
PETEC group: Virginia Negru, Smaranda Găbudeanu, Cristina Lilienfeld
collaborating artists: Cătălin Diaconu, Filip Stoica, Mariana Gavriciuc, Sveta Bird, Daniel Dragoescu etc.
At each show we will announce the invited artists.