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It doesn’t have to go together
Audience Speed Dating with Lau Lukkarila after Philipp Gehmacher It is a balancing act to live without your attention, 01.08.2019.
I met Lau at the wardrobe and we went for a quick street beer.
Lau, you just mentioned you had to cry a little, but we can also put that start off the record and see what happens next, if you prefer.
No – I cry publicly. I came in a very specific, altered state of three days of emotional labour, really intense conversations with people about love, commitment, betrayal, conflict, and change. I sort of was colliding into the theatre in a very tender state of mind, soo disarmed already. I think this made me vulnerable enough to really let the text be the dance that I experienced.
How did you experience movement and language together? What picture did it trigger?
I had my eyes closed at times just listening to the sounds, not paying so much attention to what they were doing on stage because the visual was not what was driving me, it was the sound that they had chosen, and the text. Every now and then I would look at the stage event, more to witness than trying to understand.
I really enjoyed the crafting of the words of this three bodies and three biographies and entities. Their stories were very personal, which I never experienced from these three people before. So, to this abstraction of creating something like an exhibition through the memories that they laid out with their narratives, I heard them talk about their lives in a distant, poetic way. It wasn’t too frontal, too confessional or therapeutical. There was a bit of distance through humour, sarcasm and absurdity, making cuts in the stories, suddenly jumping to another one or continuing with gesticulation instead of words. The movement of the physical, the body, was somehow very harmless; unspectacular, incomplete, almost like language. I see this as really soft, banal moving that is not notated as spectacular dance movement. It’s very quotidian, like everyday life. Almost like you’re trying to explain something and your arms are only an extension to that.
In the beginning it was almost unnecessary for me to start seeing hands moving as the bodies in the space were neither gazing nor trying to entertain. They were covered by this protective, fluffy sleeping bags so when the arms started I thought: Hm… I don’t like movement for movement’s sake. But then, when they ditched the mics and started to talk without them, somehow the gestures for me released the sense of meaning and correlation, allowing some kind of pleasure. For me it doesn’t have to go together – it triggers different parts of my brain: what I hear and what I understand and then… (explosive sound) it kind of touches me.
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