I would start from the jump.
The etymological meaning of the verb “to jump” is: taking off with the body falling to the ground in the same place or jumping cleanly elsewhere without touching the space between.
Here we come to this dance full of jumps.
This jump therefore doesn’t touch space.
What is certain is that the airspace is touched and moved, but the point here is the emphasis of a movement without space. Of course I’m talking about a unphysical space.
A lying movement is a open movement, it remains the father of itself.
It persists detaching itself from space and time and, as Henri Louis Bergson would say, it lasts.
The movement conceived in this way is a movement in progression, a continuous one. Every moment is a new one because of being this and not that moment, this is development.
Every time different, every time itself, the movement is not conceived in its space, but only in its qualitative aspect, it asks only to exist.
And existing means to persist in its uniqueness. What matters is happening.
This higly desired quality is in the middle, in the centre between a beginning and an ending, between a beginning and an ending that are not totally beginning and ending.
We’re talking about that moment when I’m already moving and when I have not stopped moving.
In Removing the energy of motion is given from the intentionality of the movement. This intentionality seems far from being relaxed as the word suggests
Actually, the intention we are talking about is the intentionality of the body. What’s in play is the hiatus that happens when the body has already received a impulse, or rather, it is in the midst of that impulse and the start of acting.
The goal that has moved the body is matter in motion.
The conception of the movement as duration is fundamental to get closer to this type of dance, but the Antonio Damasio’s philosophy of the body is important too. Infact, the main issue is that the consciousness is inextricably linked to the feeling of the body and in the movement both, consciousness and body, cooperate to the optimization of the action in progress.
So that moment in the middle is what is between the intention of the body (otherwise it would be too early) and the suspension of the movement.
The result is in that leap, in that jump that arises in the impulse which gives energy to the movement, the tension previously mentioned, and in the interruption that gives the wanted spontaneity eliminating any type of non-corporeal intentionality.
What happens is that a part of the movement is removed so that the movement is simply and properly moved.
The bodies in this performance seek that moment of purity that is in their daily movements, as well as that purity wich, in a dance movement, connects what has always been united: the body, a body with no anatomical divisions.
Removing continually seeks that moment when the movement is just quality.
Text and contribution: Emiliano Aversa
Soon there will be many jumps:
8th & 9th October
PACT Zollverein, Essen (DE)
12th > 16th October
Theatre de Bastille dans le cadre du Festival d’Automne à Paris FR)
in co-realisation with Le CND, un centre d’art pour la danse
31st October & 1st November
Moving in November, Helsinki (FI)
4th & 5th December Tanzquartier, Vienna (DE)
24th February Kaaitheater, Brussels (BE)
Concept and choreography: Noé Soulier
Dancers: José Paulo Dos Santos, Yumiko Funaya, Anna Massoni, Norbert Pape, Nans Pierson & Noé Soulier
Light: Gilles Gentner
Sound: Eric La Casa
Costumes: Chiara Valle Vallomini