Conception, artistic management and performer : Shantala Shivalingappa
Lighting design / technical management : Nicolas Boudier
Video design : Alexandre Castres
Video technician : Jim Vivien
Producers : Per Diem & Co /Pierre Barnier, Théâtre de la Ville, Paris
Management : [H]ikari – email@example.com
Premiered at Theatre de la Ville – Les Abbesses – Paris (2007)
I. IBUKI / Choreography and costume designs : Ushio Amagatsu / Music : Yoichiro Yoshikawa
II. SOLO / Choregraphy created at Tanztheater Wuppertal-Pina Bausch / Music : Ferran Savall / Costume designs : Marion Cito
III. SHIFT / Choreography : Shantala Shivalingappa
IV. SMARANA / Choreography : Savitry Nair / Traditional music of North India
Duration : 1h20
… to Thomas Erdos.
Trained as a classical indian dancer, my first contact with a « different » way of moving was the work with Pina Bausch. Meeting her has been one of the strongest encounters in my life, as much on an artistic as a human level. With her immense talent, her gentleness and her generosity, she set me out on a new artistic journey. I learnt to feel and think movement in a different way, from its conception to its execution : spontaneity, freedom and rigor, fluidity. Movement born from a flow of the body but also a flow of the heart.
Amagatsu’s powerful creations, characterised by slowness, minimalism and abstraction, seem very far from classical indian dance with its symbolism, fast rhythms and colourful and ornamented narrative. These apparently contrasted forms are nonetheless linked by the intensity of energy and emotion that they both produce.
Thus was the project born of a program built around 2 solos involving these 2 choreographers whom I admire and whose very personal and peculiar artistic work, strikes a deep chord in my own sensitivity. Seeing their work had a magnetic effect on me.It also greatly increased my desire to explore movement, and the emotion that it generates or is charged with. I was fascinated by the idea of working with them from the basis of my classical Indian technique, but with a sense of belief in the universality of dance, of movement, and of the emotions that arise from them, without the need for a common technical language.
From the classical Indian dance technique, will the journey take us to a new form of narrative, to a different way of feeling and living the dance ? Or, finally, is the « Rasa », or « flavour », which emanates from the dance not so different as the apparent contrast in form would lead us to predict ?
As much as I am fascinated with delving deeper into the practice of Kuchipudi, my desire to explore the path of contemporary dance is equally compelling.
On that path, nothing can compare with the incredible priviledge of working with such great artists, of incarnating the link that brings them together for an evening.