Gessnerallee
Zürich


More information on «ROUTINE» by fluoressenz

team of ROUTINE

Excerpts from a conversation with fluoressenz (Ayla Pierrot Arendt, Samuel Fried, Émilia Giudicelli)

 ... ROUTINE is not a „Inszenierung“, it is not a composition of scenes, it is a series of situations that are overlapping, shaping themselves, broken in time. The overall experience for the spectator should allow a reflection of their participation in this real time framed by our routine. The 8 hours build up on the three times 8 hours that divide our day: 8 hours for freetime, 8 hours of sleep and 8 hours of work. Our audience is investing their 8 hours of free time in this common experience but at the same time it should also be somehow an 8 hours space for reflection, contemplation, and spending time together, while we are meanwhile actually working for 8 hours. The overlap of these different temporalities produces moments of interaction, friction, relaxation and silence ...

It becomes real. the dramaturgy is not anymore an interesting concept but it becomes a real time experience that includes exhaustion, boredom, sudden excitement, beauty, encounters and normal needs like hunger and smoking breaks. We have elements that we use and re-use again…

 Where is the encounter happening, when we as performers remain exotic, when we remain dancers and the other remains a visitor? ...  It’s not about us or the other ones, not about the audience or the artistic strategies, but about the dialectics of the In-Between, the meetings with the audience – and we don’t call them audience, we call them guests. That is already a difference. ...

We are working along the process with the idea of documentation, the continuous movement of documenting ourselves. Our body is a document in itself from the many experiences it goes through and the choreographic procedures trying to deal with these documents. e.g. the encounter with objects – as we have seen it in Japan – is very caring, very special. It is a consideration for the object that is different from ours. So we worked with the notion of de-hierarchization, e.g. how is the fabric, the sound or the room triggering our movements? It’s not only us manipulating objects, but also vice versa. This is a concrete procedure. How can we hold together as one body, move together? In Japan things were never completely still, the Stilleben were alive – pausing and posing at the same time. How can we e.g. reach such a state in between pausing and posing? These are very fine strategies of being influenced by Another. We are interested in choreographic procedures of translation. The interdependencies or flowing leaderships become exciting. ..
We create a mobile space with a potential for change at all times. ROUTINE describes a transition that is real. There will be a kitchen island, mattresses, most things are on wheels. We frame the gaze and the attention. ...

WEBSITE OF THE GROUP:
http://www.fluoressenz.com/


images of scenes

a reference of TOURIST by Emilia Giudicelli (co-creator of ROUTINE)