Day 3. Poetic landscapes and Heritage survival

European Performing Arts, Performing Arts Residency

Everybody is starting to get used to going early to bed and waking up very early in the morning. I think I speak for everyone when I say it’s a nice change from our unhealthy sleeping habits.

The day began with Biloura Collective who stepped out from their role in the organisation to lead their workshop. They started by stating the importance in their creative process of staying with oneself for the whole process to then open up to the others and the space. The workshop began in the floor, paying attention to our breathing, as if we were lying down in a beach. From there we suffered a series of transformations, all of them linking into each other, that allowed us to warm up our bodies and voices and connect with the others and the space. Once this finished we had to look for the music within ourselves and start dancing to it, until we found someone else who was dancing to the same rythm. Groups started to form and became bigger and bigger until we were just one big group in a ritual with singing, shouting and dancing. This finally led into a song.

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We finished the first part of the workshop with very high levels of energy.  In the second part of the workshop we were asked to think about a moment were we had realised that something we thought was personal was actually cultural. We started by looking at each other in the eyes and touching to create a closer intimacy. Then we went onto work on what Biloura call “poetic landscapes” which consist in improvisations that start from each person and their relationship to space. It was beautiful to see how interactions were created in each group leading into stories, often quite comic. The key was to really find one’s own action before interacting with the others and to be aware of the focus of the scene.

The lunch break went by as usual in the courtyard with some sunbathing, others writing and others doing acrobatics or trying to learn them.

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The creative session of the afternoon was at a completely other level than the previous day. We worked in different, bigger groups to keep creating material and all three scenes that were presented were much more organic and had a a lot of depth. All of them somehow turned around the themes of play and the grotesque. The first was a beautiful scene full of symbolism in which the feminine burden of tradition was passed on through generation. The narration used storytelling and objects, which created a rich visual and sound landscape. The second scene used children games to talk about violence, in the style of the Lord of the Flies. The turns and timings were perfect and it ended as it began, giving the sensation of an infinite circle of violence.

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The third scene worked on the idea of “I have something that you don’t have” linked to culture. It finished with a powerful scene in which Vita tried to teach us the Eastern beauty of sorrow and the desperate cry of mourners, in which you weren’t sure whether the crying was real or a joke.

As one of the artists, Iva from Theatre of Inconceivable said, after all we saw yesterday the question that remains is how do we survive this heritage that is ours as much as our audiences.

 

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One thought on “Day 3. Poetic landscapes and Heritage survival

  1. wow Elena: this is a a deep and beautiful documentation : thank you for the generosity of spirit to lay bare the essentials and their underlying qualities. I was wondering how the land you are in itself, the contours, everything it connects to and contains, both visibly and invisibly, expresses itself within and beyond the patterns you speak of/offers formations that run beyond what is known or imprisoned within illusions of, and addictions to identity, towards a deeper conception of what we are ?

    Like

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