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Bratislava v pohybe: Loraine Dambermont / BE: TOUJOURS DE ¾ FACE (20´) a Ching-Ying Chien /UK: VULTURE (40´)*
entry: 12 €, students 8 €
TOUJOURS DE ¾ FACE
Concept, choreography and live performance: Loraine Dambermont; Music composition: Loraine Dambermont; Sound mixing advisor: Victor Petit; Light design: Rémy Urbain; Technical tour directors: Chams Madec and Gaspar Schelck; Outside eyes: Monica Gomes; Photographer credit: Hichem Dahes , Scenography: A jacket and a pair of glasses; Project coproduced by: Le théâtre de la Balsamine (Be); Supported by: Le théâtre Marni, Garage 29, La Roseraie, Iles Suitcase Bruxelles, L’Armande, CC Bruegel – Perpetuum MOBILE Festival (Be), Theater aan de Rijn – Dance Flavours, Arnhem (NL), Studio 28, Roubaix (Fr); Main inspiration and special thanks to Johnny Cadillac.
According to Johnny Cadillac, a former Belgian karateka, “ 3/4 face “ is The ultimate defensive position: A posture so precise which inevitably betrays a will of perfectionism and a deep desire of control. Loraine Dambermont makes this principle her own and, through a live tutorial, reveals her best self-defense secret skills. Toujours de 3⁄4 face! is a hyper energetic solo performed as a survival guide with hints of humour. Dambermont also tackles the complex Belgian identity through movements all directed towards the paroxysm of self-mockery. This performance challenges the physical and mental virtuosity of the performer by pushing the limits of a constrained body between a marathon of hyper fast movements, and the extreme precision of its own musicality.
“The project like the result achieved are matters for Surrealism – Belgian Surrealism, of course.”
Nicolas Villodre
Initial inspiration for this piece came from an old Tibetan myth about vultures. It is said that nobody ever sees the body of a deceased vulture. When a vulture knows that it’s life is close to ending it will fly high up towards the sun and melt away into nothing. It ties in a little with the Greek myth of Icarus and Daedalus. Man imitating nature and failing. The vast sky of freedom motivates Icarus to soar high till his wings melted, and causes his downfall. Both characters are approaching the sun. The vulture is controlling the end of its own life, while the man losing life for the craving of freedom. Ching-Ying Chien also gained inspiration from her life. Witnessing the death of her family member or friend, she learns the uncontrollable nature of human life, and exclaims man’s various limitations. As a dancer, she can break free from the human frame and willfully transforms herself. On the stage she is at times animal and at times human. By interpreting the possibility, impossibility, madness and control of a free spirit inside a human body, she explores the limitation and freedom of life.
“Ching-Ying Chien’s physical ability is astonishing. Her tiny body possesses an explosive energy and a prodigious presence… the physical training and exploration of animal primitiveness have indeed made a deep mark on her work, enabling her to represent the haughtiness and insolence of the vulture, as well as its determination when facing death.”
Meng-Hsuan Wu, critics for Taiwan Dance Platform 2018
entry: 12 €, students 8 €