Concept-choreography: Iris Karayan
Music-text: Ilan Manouach
Lights: Elisavet Moraki
Space design: Yorgos Maraziotis
Assistant to choreographer: Elena Novakovich
Voice: Ian Watts
Performers: Ioanna Paraskevopoulou, Amalia Kosma, Antigoni Avdi
Production: ZITA dance company 2017
Photos: Kleopatra Haritou
Manual Solos attempts to reenact two works from the past: Wall-Floor Positions (1968) by the visual artist Bruce Nauman and Water Motor (1979) by the choreographer Trisha Brown. The aim of the work is to actively rethink, investigate and explore the past attempting to foreground the present. The research process in hand leads towards the creation of a new work that operates as an exploration and re-articulation of the thought expressed in the compositional logic of the historic works cited.
The documentation of these works, accessed through the Internet, instructs the primary material that the three performers are invited to learn, reinterpret and reinvent. The sound score is a composition of a series of instruction manuals.
Composing image, sound, movement and light, evokes relations and possible dramaturgies. How does the image operate in different temporalities and how is it amplified to the creation of various meanings?
Manual Solos creates a choreographic score and invites three performers to activate it. Each one of them approaches and performs the score according to their individual identity and point of view. They re-negotiate and paraphrase the artistic materials of the past, proposing their own interpretation in contemporary time and space.
On the works cited: In Wall-Floor Positions, visual artist Bruce Nauman performs in his studio, at least 28 movements in relation to the wall and floor, holding the positions for 45 seconds up to a minute before each change. The videotape lasts one hour. The element of repetition, his persistence in the structure and the process of presenting a single action, creates the impression that his body fills up the space and takes up time. The logic of Water Motor by choreographer Trisha Brown, establishes a new paradigm of choreographic invention, grounded in explorations of the dynamic between spontaneous improvisation and set choreography. Her dancing’s jouissance demonstrated through her idiosyncratic virtuosity and physical intelligence signals itself as an artistic motif and as a choreographic motive.