In this dance theater work, I invite the audience to explore the human emotional register, triggered by not getting an answer; being ghosted by someone you like; being ignored. This work tells a story that starts as an uncomfortable situation, but as the solo unfolds, more reactions and questions emerge from underneath, and we see that there’s a lot more to the narrative. As this person tries to figure out where she stands, and more importantly, the way forward, the solo poses a larger question in a humorous way:
“Do you believe in life after love?” – Are you strong enough to move on?
If dance and theater was a love song, this solo would be a good contribute.
A SITUATION MANY CAN RELATE TOO?
I wrote a text taking inspiration from a personal experience and starting point. From there I have taken artistic choices and performative directions in order to portray a general situation and states of minds I think many can relate to. From feedback sessions at my viewings (march 23 and nov 22) it seems like many can recognize themselves in the solo’s journey, both the painful but also perhaps the more humorous and pathetic sides…
FEEDBACK:
“The different layers of expression: voice, physicality, music and song balance each other really well”– NORA Dialogscenen” ( feedback session)
“ The choices between the concrete and the abstract are nice. The solo gives also some space for interpretation “ – Julie Schartum Dokken ( Dance-artist and dance pedagogue)
“Funny/ humoristic ! “ – Tine, leader of NORA
“It is impressive how you snap from one emotion and physicallity to another with convictions” – An audience KGB CC vest
“It is needed a strong hearth to work with heartache through creative work” – Eunice Malaca ( primary school teacher )
“You remind me of Nicole Kidman in Moulin Rouge – Nathalie Adriana, Participant NORA 22
DEVELOPMENT AS A PERFORMER:
In this solo I add a lot of performative elements in one go: teater, dancing, sing , humor, a narrative and a self-written text. It is the first time in my own creations where I use voice. Then I explore the relationship between the two communications forms of movement and voice. To add to the challenge, I threw in some song as well.
At the beginning of the process of exploring emotions though voice and text, I was surprised that, despite years of dance training, I wasn’t connected to express and improvise around different types of physicallities inside a chosen emotion. It is still a training.
THANK YOU:
For all the feedback, guidance and conversations of content, direction, balance and expression:
- Tale Jørstad: Singer and song pedagogue
- Pernille Horntvedt: Actor
- Hilde Ingeborg Sandvold : dancer, choreographer and performer
- Mathias Mælseter Rydfjord: actor
- The feedback sessions at NORA “Dialogscenen” with the other participants
- Friends and colleagues that I have sent the videos to.
PICTURES & SCREENSHOTS FROM THE VIEWINGS:
*newest to oldest
Pictures Credits: Rune Aasen ( DansiT) , Ingrid Sørensen (KGB CC), , Screenshots from Trøndertun, and Kai Hansen (Dialogscenen)