Dance & Theatre & Music & Video
1. Description of the project and its concept
One utopian road/One utopian world
A road/space one cannot go in and out of whenever one wants to. The journey represents the quest for a solution, by hitting and running. The destination is of secondary importance, it’s the journey that matters and the people you meet (hit) along the way.
We are accidents waiting to happen, broken branches trip us as we run, overcoming fake appearance, illusions of arrival, impressions of exiting.
No trespassing – a rule we CAN afford to break due to our urge for running. The bottomline is HIT’n’RUN! Primary feelings and strange states of mind characteristic of our postpostmodern society are the very engine of our journey: fear, desperation, numbness, solitude, lack of communication, love, hate, neuroticism, ambivalence.
No matter what you do, you cannot free yourself from this road/from being with the Other/from working together.
Our utopian world means finding an absolute meaning not through an individual effort, but by striving together as a team. Theatre, dance and performance of any kind make no exception as the result is both achieved and shared with the others.
Therefore, we are here to present you the Road as a socially built art.
HIT’n’RUN is initilally designed as a stage performance, yet we have also thought of it as a video-art performance.(we have attached the video material)
Setting: Unconventional places (garage, office, park alleys, cemeteries etc) or Theatre studio (the setting depicts a road, the audience is seated among trash one finds along a highway).
Music: selective playlist: Telepopmusik, The Prodigy, Radiohead, Akufen, The Beastie Boys, RJD2, Sigur Ros, The Chemical Brothers, Porthishead.
1.Neurosis in a Cigarette’s Time (SOLO) is based on a selection of lyrics compiled after Radiohead. This is a specific diagnosis of our present society: neurotic lifestyle, distress, competition-focused activity.
More productive, comfortable, not drinking too much, regular exercise at the gym (3 days a week), getting on better with your associate employee contemporaries. At ease, eating well (no more microwave dinners and saturated fats), a patient better driver, a safer car (baby smiling in back seat), sleeping well, no paranoia, careful to all animals, keep in contact with old friends,
will frequently check credit at (moral) bank (hole in wall). Favors for favors, fond but not in love, At a better pace, slower and more calculated, no chance of escape, now self-employed, concerned (but powerless), an empowered and informed member of society (pragmatism not idealism). Will not cry in public, less chance of illness, A good memory, still cries at a good film, still kisses with saliva. Calm, fitter, healthier and more productive, a pig in a cage on antibiotics.
This performance is about being unable to relax, unable to slow down on your run and chill out, unable to take a cigarette break and puff your tension away. The more you try, the harder it gets. Neurosis is based on the following algorhythm: One – close your eyes. Two – you are more and more relaxed. Three – your eye lids are getting heavier… (…) Ten – you’re so damn neurotic!!!, and presents two false endings, meaning that the neurotic journey is always on a tricky road. Taking and following the right steps is not always the solution, sometimes there’s no logic to human behavior.
v Attached video material.
2.Dinner (S)Table (DUO)
This is a performance on lack of communication and genuine social relationships.
The illusion of being together, of communicating, of being unique. We mean nothing for the ones around us, we can always switch places without anything being noticed. Our relationships are like
v Attached video material.
3.Confession/Accidents Waiting to Happen – multimedia performance
A poetic text about the dichotomy between idealism and pragmatism.The text is supposed to be read by a computer voice.
v Attached text.
4. Â®UNlike (DUO)
As long as we stand still, we are all alike, the differences between us are absent or unperceptible. When we choose to move, to leave ground zero, those differences become visible. The difference lies in the very path we choose to take in order to get from A to B: the easy way or the hard way.
The time ahead us seems to compress, along with the rhythm of the postmodern era. We are constantly under the strict surveillance of the stopwatch. Stopwatch = our postmodern destiny.
We are also condemned to make a difference. It is nevertheless up to us to decide whether to live this life or to merely witness its unfolding.
The running corridor represents the last mile, the green mile that everyone must walk before being an efficient member of a future society. The last chance to prove yourself and the others that you’re NOT like them, that you’ve got your own personality, that you’re different therefore a mentally and spiritually progessive individual whose initiatives can take society forward.
NOTE! The choreography is designed for two performers (male and female). At present, we cannot count on the participation of our male dancer, therefore this performance is open to new ideas, collaboration and further improvement.
v Attached video material.
5.Spinthrough (group performance)
This is only a concept hopefully to be developed and staged during the camp, involving other people. The performance presents another aspect of our utopian road/utopian society.
CONCEPT: Sitting on a rotative desk chair; spinning at different rhythms; indulging in the spinning; not sure of wanting/being able to stop; tied to the chair with no visible strings; playing hide and seek behind the chair; masturbating on the chair.
Everyone is sitting on his/her own chair; everyone spins at his/her own pace. The only outcome is a mere superficial short-term satisfaction. Only by tuning the different moves/action to one single collective rhythm can one achieve the ultimate long-term fulfillment. The undertheme is the constant questioning of our decision: which condition is the best, is it really what you wished for or would you rather you hadn’t trespassed?
A piece that tackles the choreographic mechanism: what is stillness and what is movement, do we choose to move or are we being moved? Does moving bring us benefits, do we become anything by moving, do we risk nything by moving? Does it make any difference if we move?
NOTE: !!! In the theatrical version of Hit’n’Run (see the photo material) there are 1 min 30sec breaks between each moment, which consist of videoprojecting a collection of digital photography on the theme of Roads and Utopian Destinations.