Concept-choreography  Iris Karayan

Music  Nikos Veliotis

Set  Nikos Papadimitriou

Lights / photos  Elisavet Moraki

Dramaturgical consultant  Myrto Katsiki

Performers  Nontas Damopoulos, Chara Kotsali, Ioanna Paraskevopoulou

Produced by the Athens Festival 2014, ZITA dance company

Premier  Athens Festival 27-28 July 2014, Pireos 260, Building E

 

notes on Tracing

Myrto Katsiki

 

A

The departing point for the research of Tracing is to explore movement using the notion of trace as a tool. The basic movement material is produced through task-like procedures and directives exploring initialy the possibilities of two questions: how to perform movement without producing traces and how to perform movement that produces an intense trace activity. Following these questions each performer experiments with his own individual activations of tracing informed all along by the fact that a trace always implies the absence of something and refers beyond itself. In a way, most of Tracing’s material operates within that contradiction: it explores the activity of an absence, one of it’s basic tasks being to grasp what remains active after the end of an action.

 

B

That kind of movement exploration seems to have a particular effect on the construction and perception of time, making perhaps ultimately Tracing a research on time. Exploring activity within the after of an action brings about different layers of temporality in the organization of movement and the overall structuring of the piece; accelerations, delays, low frequency activity, accumulation of material within a single unit of time etc. Tracing seems to function like a molecular, layer-like structure within which multiple actions run simultaneously but not at the same time. It seems to produce a time that becomes diffuse and dilated consisting only in densified moments of unlimited possibility that escapes linearity.

 

C

The compositional procedures of Tracing demand from the performers to engage in a real-time decision making while performing. Most of the time, they appear to be exercising something like not picking one state, but being permanently open to all at once. We watch them constantly reorganising the potential of each new movement, modifying their affective and perceptive activity. All along, they seem to display their capacity of staying in a time of unlimited possibility, in which any given configuration might actualize. That kind of engagement invites less to a doing of the movement material but rather to experiencing the potential of movement while doing it;  every movement seems to be activated like a question within a high precision given structure, each performer relates to it experiencing its potential responces before any answer appears.