The program of ARC_MAIN FEST explores the many ways through which we move and are being moved, examines the rhythms, tempos, beats, the many variants of movement as they divide and interpolate time.
ARC14 focuses on thrill of shifting bodies as they engage with time; it celebrates the release into the feel of ever-changing realities; it suggests the reconciliation with the strains of duration.
ARC14 opens up to everybody’s experience of time, in the city, within the heavy demands of the present and beyond, in order to mend and heal a relation to time that has been broken, ailing.
ARC14 calls for artists and audiences to think forward and, also, in reverse: from TIME-TO-DANCE to DANCE-TO-TIME.
Ever After | PREMIERE
“Ever After” began as a reflection on the concept, experience and history of death through the medium of dance – the dance macabre of the late medieval allegorical iconography; dance in Pieter Bruegel’s paintings; the post-mortem dance lament in romantic ballet; the slow death in the dashed hopes of modernist utopias; its dark memory in the aftermath of the end to grand narratives.
Setting no overly ambitious goals, and being constantly aware of the overwhelming universality and breadth of the subject, “Ever After”used the scale and kinetic materials of the dance group itself. It drew on the labyrinthine performative wanderings between different experiences, stories and pieces of information, in order to register in the present shared and diverging representations about death; in order to allow the traumatic relationship between humans and time to emerge. The very process of creating the piece, the rehearsals, the revisions, the small gestures that were excluded from the performance but included in the memories, the successive choices – all of these elements brought the piece to “life” gradually, through an arguably paradoxical but also redemptive process.
As noted by the choreographer: “In every attempt to capture the ‘after’ we keep coming back to the ‘before’ that explains the asymmetry between present experience and future expectation. We perceive ‘ever after’ as a metaphor for what never becomes known after the end of a piece’s life.”
Concept / Choreography: Marianna Kavallieratos
Dramaturgy: Anastassios Koukoutas
Music: Giorgos Poulios
Stage Design: Poulcheria Tzova
Costume Design: Konstantina Mardiki
Lighting Design: Eliza Alexandropoulou
Assistant Choreographer: Aspasia Maria Alexiou
Production Management: Angelika Stavropoulou
Performers: Alexandros Vardaxoglou, Gabriela Antonopoulou, Aris Papadopoulos, Ioanna Toubakari
The piece was developed with financial support from the Ministry of Culture and Sports, in the context of the 2019-2020 subsidies
Funky Turn and/or Legally Live | PREMIERE
Through sampling technologies and digital techniques, the smallest gesture can assume a life of its own and become the basis for the constant re-birth of new iterations and reverberations. “Funky Turn and/or Legally Live” is a dance performance piece that adopts a media epistemology and supports the view that the artwork in the era of technical reproduction cannot escape the technological sovereignty that determines its aesthetic dimension. What is the place of origin and how can we—if at all—keep track of its many travels and echoes in the future?
Tracing a genealogy of movement material inspired by dance/pop culture and using appropriation techniques, Dimitriou attempts to bring some of these images to life with a technologically inspired vocabulary of movement and explore how their gestures can be further charged semiotically and expressively. Within the fast changing pace of our world’s virtual realities, Dimitriou is interested in slowing down and persistently amplifying the detail – a course that speaks of the desire for a return to a perhaps lost future.
Concept / Choreography / Artistic Direction: Zoi Dimitriou
Dramaturgy / Text: Zoi Dimitriou
Performer: Zoi Dimitriou
Composition and Sound Design: Sam Hayden
Set Design: Maro Michalakakos
Lighting Design: Tasos Palaioroutas
Graphic Design Supervision / Video: Marilena Aligizaki
Producer: Rena Andreadaki
Special thanks to: Alexia Beziki, Voltnoi Brege, Sakis Bwana, Dimitris Exarchos, Joe Kelleher, Nicholas Minns, Paddy Randal, Serena Ruth, Peter Von Salis, Simone Sistarelli, Yorgos Valais, Jacopo Zecchi.
“Funky Turn and/or Legally Live” is funded by the Hellenic Ministry of Culture and Sports. Supported by Kinitiras and Trinity Laban.
Things move but they do not say anything
Poliana Lima (BRA)
“Things move but they do not say anything” is a dance piece about the language of bodies and the body of language. Performed by an all-female cast, the piece develops via dancers who do not interact with each other – at least, not physically – and also via the sounds produced by them as they move in co-presence, in unison.
These dressed in glitter and bathed in changing lights bodies always face the (an) audience as they stand and shake and twist and turn while holding their position. The almost archaic feel of a powerful female presence is conveyed through their ritualistic move – the way they repeat and shift and repeat again. Rhythm and gradual transformation give the piece an organic feel as if someone is at the presence of natural growth, weather phenomena or swarm move.
The choreography alludes to collective empowerment and the poetry of bodies channeling voices of the past and intuitions of the future, bodies making and spreading demands, stories, presence, time.
Idea, Choreography and Direction: Poliana Lima
Choreography Assistant: Lucas Condró
Lighting design: Carlos Marquerie
Sound Design: Arne Bock
Costume Designer: Anaïs Zebrowski
Costume Assistant: Diego Carrasco Pulido
Audiovisuals: Álvaro Gomez Pidal, Alexis Delgado Búrdalo
Performers: Cláudia Bosch, Laura Cardona, Ada Continente, Carla Diego, Natalia Fernandes, Cris Manso, Danielle Mesquita, Clara Pampyn, Almudena Perez, Isabela Rossi, Maddi Ruiz de Loizaga y Ainhoa Uzandizaga
Production: Isabella Lima
Technical Coordination: Cristina Bolívar
Co-production: Teatros del Canal, Teatro Municipal do Porto / DDD - Festival Dias da Dança, CND/Pantin y Porosus Fonds de Dotation
Why should it be more desirable for green fire balls to exist than not?
“In Why should it be more desirable…? Vardarou restores the primacy of dance by inserting into the space between performer and audience — where the dance happens — an ambiguous dimension in which we can search, consciously or unconsciously, for what we desire.”
— writing about dance, Nicholas Minns, 1/11/2019
“Why should it be more desirable for green fire balls to exist than not?” is a solo dance piece in collaboration with visual artist David Bergé. Images and movements imbricated with each other, create a space for the audience to read between the projections, the dance and their ephemeral relation to each other.
Choreographer Georgia Vardarou notes:
“How playful can contextualization of an image be by means of the language of dance? Do meanings become malleable next to a body moving? How can a body narrate? Does context reveal or thin the meaning of what we see on stage? What is happening in the space between the performer’s and the audience’s perception? This space between our different perceptions is perhaps where dance is happening.
According to Carl Gustav Jung, UFOs provoke conscious and unconscious fantasies. Perhaps dance movements can also be seen as a way to reflect on whether one sees what one sees because it’s actually there or because ‘an archetype creates the corresponding vision.’ Jung’s Flying Saucers is a book that I am currently reading for this project, the title of which is semi-drawn from the aforementioned book and refers to the general fact that it is more desirable for something (in the case of the book: flying saucers) to exist rather than not exist. If we assume that this kind of desire is part of the mechanism of watching dance then we could also assume that while watching dance we are constantly searching for something, consciously or unconsciously.”
Choreography & Dance: Georgia Vardarou
Set Design: David Bergé
Lighting Design: Ana Rovira
Photos: David Bergé, Elina Loukou, Agni Papadeli Rossetou
Music Tracks: Laurel Halo
Artistic Advice: Marc Vanrunt
Production: Kunst/Werk, Antwerp
Residencies: La Caldera, El Graner, Barcelona
With the support of: Dance Umbrella
Thanks to: Salva Sanchis
Dare to be together | PREMIERE
“Dare to be together” is a dance study on the evolution of human relations and the corresponding changes in the psychology of the people involved.
Although humans seem to be functioning better and moving forward through relational processes, through proximity and exchange, the demand for individuality seems to always come up, almost inevitably, claiming satisfaction and the reins in every encounter.
While it is true that each and every one of us essentially enters and leaves the complex ritual of existence alone, it is equally true that everyday living becomes possible thanks to the many ways in which we are aware of others and share with them the characteristics of our unique experience.
Choreographer and multidisciplinary artist Alex Kyriakoulis is reflecting on the boldness of coexistence and union, on the synapses fueled by touch and the significations triggered by embraces; his choreography sheds light on the manifest need of the body to “become” with other bodies, even if it only happens “in-between”, in the space that lies between the two fundamental points of loneliness – birth and death. As the choreographer points out with regard to the particular conditions of isolation we are currently experiencing: “A teacher of mine had once told me that ‘humans come and go alone.’ So, let us figure out the way to change the intervening course of our lives.”
Choreography: Alex Kyriakoulis
Performance / Co-creation: Katerina Mageraki, Petros Tsofillas, Noni Boufi
Set Design / Stage Manager: Paraskevi Chionidou
Lighting Design: Alex Kyriakoulis
Music / Cello: Alexandros Kasartzis
With the support of: Dance Cultural Centre
Enchanté | PREMIERE
Every time we introduce ourselves to someone, in a professional, romantic or casual setting, an innermost mechanism is triggered that makes us pick and choose which of our character features we will render obvious to them. This constant reinvention of the self in its interaction with others, especially at a time when the image becomes more representative than the substance, is a highly stressful process that ultimately tends to replace the real experience. In the words of Jorge Bucay (freely translated here):
Once upon a time there was… “a time”
That was narrated with such power
And repeated so many times
That it became reality.
What happens when, in this interchanging plethora of selves, we end up losing our core identity?
“Enchanté” attempts to explore this difficult question through a kinetic study. It proposes a journey with a single point of departure but many different destinations, as these arise through the contextual and instinctive reactions of the dancers to concrete situations. The language produced each time by the body itself, whether realistic or surreal, is essentially narrating different stories, with or without logical association. In its highly desirable freedom of expression, multiple “realities” clash, at times cancelling each other out, caught up in the continuum of volatile polymorphism that might actually constitute the dead-end utter fragmentation of content.
Idea / Choreography: Natasa Frantzi
Performance / Co-creation: Apostolos Kousinas, Natasa Frantzi
Set Design: Paraskevi Chionidou
Lighting Design: Alex Kyriakoulis
With the support of: Dance Cultural Centre
“Somiglianza” is a performance with a dreamlike, captivating and eccentric atmosphere, which uses elements from the world of cinema and photography to translate in a sarcastic vein “L’après-midi d’un faune,” on the music of Claude Debussy, the first choreographic composition with which Vaslav Nijinsky opened the doors to modernity. The two choreographers—here also in the role of performers—merge the classic iconography and the world of dreams, sarcasm and glamour with exquisite elegance. The paradox of stillness, introduced by Nijinsky to express the excesses of the flesh and of desire, is transformed into a game of static and dynamic balance that evokes that of the American Aqua-Musicals, when Esther Williams was a huge hit in the late ’40s.
The faun, tall and majestic, in a long tunic of white lace, is crowned with flowers like an androgynous Farinelli, while the Nymphs, a bit like mermaids and a bit like pin-up girls, lose their gender as they are interpreted by dancers of both sexes. The performance of De Rosa and Russo is a sort of pop dream; small and short snapshots with a glamorous character, where the sublimation of sexuality and sensuality occurs through the combination of elegance and poetic levity.
Choreography: KOR´SIA Antonio de Rosa, Mattia Russo
Music: Claude Debussy, Prélude à l'après-midi d'un faune
Costumes: KOR´SIA and Vanesa Soria Lima
Set Design: KOR´SIA
Lighting Design: Mattia Russo, Antonio de Rosa
Text: Celia Zaragoza
Performers: Astrid Bramming, Giulia Russo, Alejandro Moya, Mattia Russo, Antonio de Rosa