“FOR MOVEMENT’S SAKE”
(photos Bart Grietens)
DH+ new production for 2014
a full evening dance performance by David Hernandez to the music of Dieterich Buxtehude
in collaboration with Renate Graziadei, Nina Hanel, David Hernandez,Colas Lucot- dance
Saskia Louwaard, Katrijn Baeten- scenography & costumes
Hans Meier- light
Moos Vandenbroek- dramaturgical advice
PREMIERE January 22, 2014 20.30h STUK, Leuven Beligium reserve your tickets @ www.stuk.be
February 14 &15 2014 Monty, Antwerpen
March 28 & 29 2014 Theater Im Ballsaal, Bonn Germany
April 2 2014 20.15h C-Mine Genk reserve your tickets @ www.c-minecultuurcentrum
Made with support from the Vlaamse Gemeenschap
and in co-production with Stuk/Leuven, Monty/ Antwerpen, CocoonDance/Bonn
with additional support from C-mine/Genk, Michael Douglas Kollektiv/Cologne, Labor Gras/Berlin, P.A.R.T.S/Brussels
“ dance is most deeply concerned with each single instant as it comes along, and its life and vigor and attraction lie in just that singleness. It is as accurate and impermanent as breathing.” merce cunningham
“dance will always be theatrical, despite how abstract it may be, and that the simplest of physical gesture can often speak louder than any big ‘move” Pina Bausch
For movement’s sake is a project that explores the line between when movement is considered “abstract” and when it starts to have meaning and context. The aim is to create an evening length performance. We are busy creating scenes of movement in relationship to the music of Buxtehude. We create scenes with a specific movement situations in which movement vascillates between movement for the beauty of it’s design to situations where more meaning comes into play, which exposes the ability for movement to communicate and exposes the fact that a human being dancing is difficult to be abstract.
Metamorphosis is a topic I have been busy with for many years and is strongly present in this production. It is part of the logic in how I put movement together and form it to be read by the viewer. I am always busy with how the body transforms and evolves over the course of any string of actions or series of circumstances. Even when building more or less “pure” movement material, I often use images or personas as landmarks that the material passes through on it’s journey which charts state change and intention as well as dramaturgical evolution. There may be an image of Elvis Presley as a landmark which connotes pride, strength raw energy and later down the line a monster or dwarf that connotes other qualities such as contortion, heaviness, introvertedness. I create a line of transforming logic between these two landmark personalities. I am less interested in the public seeing Elvis or a dwarf and more of marking a physicality, demeanor or state that can be recognized and read.For this project I am stepping even further into this way of working, amplifying it’s importance as I discover more through researching, using and developing this tool.
Context, demeanor, intention, posture and gesture among other things can often speak louder than words. It is this zone of communication that we dive into. We are exploring people transforming continuously. We are investigating monsters, gods, personalities and allowing the movement to come from this. How this transforming can create a sort of fantastical environment while allowing the characters to take shape and become clear to a viewer through their behavior.
The Cast and Artistic Approach
The cast is made up of two men and one woman. We all come from various backgrounds but all with a passion for movement investigation. The men are myself, David Hernandez and Colas Lucot. I feel that I am in a unique place in my artistic career. Drawing on the experiences of making work myself for so many years as well as my collaborations with Meg Stuart, and more recently Anne Teresa DeKeersmaeker in combination with my experiences as a break dancer, actor and musician give me a unique perspective from which to create. The physical theatricality we developed in the early years of Damaged Goods, the approach to music and movement that led me to collaborate with Rosas as well as many other experiences gives my investigations an original point of view.
Colas is a young dancer from France who has been working with me for the past several years. He has also many backgrounds in his body from folk dance to ballet to his work with Prejlocaj and other French choreographers as well as his investment in developing himself in being proficient in my movement language makes him a vital player in this project.
The woman’s role is being created in collaboration with two different women, Renate Graziadei and Nina Hanel. This idea sprung from necessity but became an interesting element for the process. Because of availability we came up with the idea of three people learning the women’s role but as we have travelled from Berlin to Cologne to Brussels to work with each of them it has become and interesting communication over distance for the two and forced us to be very clear with the through line of the work as we have to communicate it to each of the women continually. It also means that each women is contributing uniquely to this third role creating a kind of composite of the two women in one.
Costumes and scenography and light design
Costumes and set will be an important element for this work. For this project we will collaborate with katrijn baeten and saskia lauwaard who will make a foray into working with dance for the first time with our project. Image created in collaboration with the scenographers will play an important role.
For the light design I return to working with a long time collaborator from my earlier works Hans Meier who has a special talent for lighting dance and for understanding how to collaborate in my work and contextualize it through the use of light. He is one of my favorite collaborators and our work together is always fruitful and effective.