2012

Solo “On the Red Lawn” is inspired by “Inferno” from “Divine Comedy”. Reading how Dante was walking through the hell, I was interested in choices of people he met there, their motivations and (dis)satisfaction. It deliberately made me question my own life, my choices, my dance, my way of seeing of life and its motivations – such as love or perception of home deep within me. Is it possible to know where one heads, would it be possible to do a different choice, than I had done or at least perceive it differently?

Performance “On the Red Lawn” review these questions and, in doing so, combines visual art with dance. This solo is creating a connections between the new and what was always there; between the external appearance of a body and the story that the body contains within it; between emotional and physical intimacy; and between classical narrative
and open structure.”


This work has been presented in Austria, Graz and Denmark (BoraBora Aarhus and Dansehallerne Copenhagen). 

On the Red Lawn -Choreography and dance: Tomas Danielis
Videoart: Stefan Schmidt
Stage set and costume: Stefan Rorhle
Music: Sebastian Garcia Ferro
Assistant of choreography: Aline Sanchez Rodriguez

Behind the Endings

https://www.youtube.com/watch?v=2L6PXGIOVcc

Behind the endings not intended to illustrate Dante, but describe the absence of borders between their world and our lives. We not consider that we will living the Dantean circles in another life, because it is they who dwell already in us. We lower to hell, therefore, through a vivsección in our nightmares. And we only can reach the sky if we let ourselves take by the wings of Eros. The sages say that Dante in his poem follows the platonic scheme that considered not three, but only two opposing worlds: the dark cave and light the world of ideas. A scheme that structure also our piece. It also picks up the feelings of Osip Mandelstam when considers that Dante in its poem emphasizes mainly the human movement, his gait, his rhythm. But his ride express opposing natures: in the first place a step sealed and torn, and later with an open movement. On the one hand a hellish reality unexpected and uncontrolled, which occupies the profile of the first part of our piece. On the other hand, Eros as the only reality that can give strength to our lives intentionally, because without him the movement would be just a spatial metaphor and the orientation a meaning soulless. With the guide of Eros the movement accepts the experience of the inaccessibility that is to him own, reason for which the idea of the love, according to Giorgio Agamben, is not other than "to live in privacy with a strange being,, but it does not stop to approximate it, to make it well-known, but to maintain it strange, distant. It is more: inaparente." Behind the endings moves between the dream of the appearances and the brilliance of the inaparente. It puts into play two flanks of the day: the cloudy and the boisterous of the nightmare and the world of the cleared horizons. The opposition between a half-full world by a constant game of veils of Mayan, and one world naked, whose unattainable horizon is offered, however, like opening of the own life. A duality that we lived now, before the end.

Dramaturgy: Victor Molina Escobar Assistant Direction: Gabriela Barberio Music: Sebastian Garcia Ferro Light Desing: Tomas Danielis, Thomas Bergner Costumes: Stefan Roehrle Video: Stefan Schmid Production: Marcela Imazio Video Edition and Photos: Tristán Pérez-Martín