GHOSTING / VPIJANJE DUHA (SE)
29. 6. - Ljubljana - breg Gradaščice - 18.00
Koreografija in izvedba / Choreographed and Performed by: ANNA PEHRSSON
Delo si kot podlago jemlje figuro duha v popularni kulturi z namenom iskanja ostalih časovnosti, tekstur in načinov sobivanja v okolju ter z Drugimi. V performansu duh naseli vase energijo mimoidočih in opazuje skozi ples. Duhovi so tujci, varuhi in glasniki prihodnosti iz nekega drugega časa. Skozi svojo fizičnost ustvarijo mistično, spokojno in kdaj pa kdaj vznemirjajočo prezenco.
Vpijanje duha temelji na floating praksi, kjer gre za iskanje mehkobe v gibanju, pretvarjanje poslušanja v ples in plesanja v poslušanje. Praksa se preigrava z angažiranjem telesa tako lokalno kot globalno preko čutenja telesa, ki se dotika tal in ozaveščanja, da se tla dotikajo telesa. Duh ima čas v svojih rokah, svoj senzoričen prispevek in ples dojema kot polje raziskovanja. Njegov vid seže blizu, daleč in povsod vmes. Ne načrtuje vnaprej, a točno ve kaj počne. Z gibalno bazo floating avtorica znotraj dela, na enem kraju, potuje med različnimi razpoloženji, hitrostmi, veličinami in intenzitetami ter jih nadaljne razvija.
The work borrows from the figure of the ghost in popular culture in order to research other temporalities, textures and ways of being with an environment and the Other. In Ghosting, the ghost stands next to and accompanies, it absorbs the energy of passers-by into its bodies and it observes through dancing. They are foreigners and guardians but also fortune-tellers from another time. Through their physical work, they create a mystical, restful, and sometimes disturbing presence.
Ghosting is carried by the ground practice floating, which is a softening into moving, a listening into dancing, and a dancing into listening. The practice shifts between engaging the body locally and globally, by sensing the body touching the floor, and registering the floor touching the body. The ghost has time in its hands, and rides its sensorial input as a study, it uses its dance as a field of investigation and continues to move in order to be. Its gaze sees near, midrange and far. It does not plan ahead, yet it seems to know exactly what it is doing. With floating as the base, the work visits different modes of energy in terms of speed, volume and intensity, which will be investigated on site and further developed.