DE

Ein Fragebogen zur Selbstreflexion

Hast du dich in einem Bild, in einem Maskenabdruck wieder erkannt?
Du kannst hier einen Fragebogen (PDF) herunterladen. Darin sind Fragen zur Selbstreflexion an dich. Anschließend besteht die Möglichkeit, in einen Austausch über ein Padlet zu gehen..
Lass dich auf eine Entdeckung unserer Bilder, deiner bekannten und auch unbekannten Gedanken ein.

Hier ist der Link zum Padlet: Klicke hier, um zu dem Padlet zu gelangen.

EN

A self-reflection questionnaire

Did you recognize yourself in a picture, in a mask print?
You can download a questionnaire (PDF) here. It contains questions for your self-reflection. Afterwards there is the possibility to enter into an exchange via a padlet. Get involved in a discovery of our images, your known and also unknown thoughts.

 Here is the link to the padlet: click here to go to the padlet.

Download PDF

DE

Kaum ein Thema wird zur Zeit kontroverser in den Feuilletons diskutiert als Identität und  Identitätspolitik. 

Bellatrix Ziegler wird im Gespräch mit Brigitte Huezo, iSaAc Espinoza Hidrobo, Helen Burghardt und Lars nicht von Trier auf deren tänzerische Darbietung von Identität in "Portraits"  eingehen. Wie wirken sich unterschiedliche Positionen in der Gesellschaft auf den Blick auf Identitäten aus?

EN

Hardly any topic is currently more controversially discussed in the feuilletons than identity and identity politics. 

Bellatrix Ziegler will discuss with Brigitte Huezo, iSaAc Espinoza Hidrobo, Helen Burghardt and Lars nicht von Trier their dance performance of identity in "Portraits". How do different positions in society affect the view of identities?

Bellatrix Ziegler, Brigitte Huezo, iSaAc Espinoza Hidrobo, Helen Burghardt and Lars nicht von Trier

Englisch/ English

Lars nicht von Trier, Helen Burghardt, iSaAc Espinoza Hidrobo and Brigitte Huezo sitting next to each other on a wooden platform at Rasselmania, an open-air-space that is one spot of the audio walk “Portraits”. Behind them are trees, the wind blows from time to time through the leaves. Their eyes are unnaturally bright with big black pupils, these are contact lenses. Some have dark lipstick on, some have wear make-up next to their eyes or lips. Bellatrix Ziegler from the festival team is next to them; they all sit cross-legged. Bella sits on the right, dressed in black, the festival programme and some notes in front of her. She speaks to the camera.

Bella: Dear audience, welcome to the artist-talk with Brigitte Huezo and team.
My name is Bellatrix Ziegler I am one of the curators, this year of the
transeuropa- festival and we are talking now about the work
„Portraits“ with Lars nicht von Trier, Helen Burghardt, iSaAc Espinoza Hidrobo and Brigitte Huezo. So, I have prepared some questions and the
first of its is: „What made you create a piece about identity?“

The team starts to look at each other, Lars takes a sip of his bottle of lemonade brand “Biozisch”, Brigitte starts to speak.

„Em… I think identities like… It is the need for me, of passing
through life-experiences… at the same time, I am not defined by them
and there are many identities in this work and everyones contributions
and make a new one. So, its like identities for every different feel of
art. That’s why actually they inspire me to do a piece where
identities can coexist each other in a very complex system and being an extension of the other. So, that’s why I did this. We did this.

Brigitte speaks very thoughtfully, gesturing while talking. They wear black clothes and hold a smartphone in their hands. Lars takes down his sunglasses and puts them on his cap, rearranging his legs so he sits in a very elegant posture.

Bella: For sure… And what does in this piece or also in general, what
meaning does a portrait have for you but also for the rest of the team. laughs
So you can answer for yourself, but I think it’s an interesting
question of… I would like to hear about it.

iSaAc: I can start and … like same as Brigitte is saying, that the word
identities gave us the freedom to either curate, or create, construct or whatever
you would like to do… based on… to create this portrait, based on
all these identities. So like, it never had to be… at least for me, it was
never one person. I don´t portrait myself or another person and I
allowed me through the freedom that Brigitte gave me to construct a sort
of collage of different people I have met personally and I admire, many
of whom are dead and so it has a little bit of a homage to them and some
of them are still alive. So this my way of understanding this portrait
and I embody it with the physicals.

iSaAc smiles a lot and makes fluid gestures while talking. Every now and again they places their hands on their knees, as if the fingers needed to rest. They wears black clothes, big bright rosy boots and a necklace with a little grey mask. When finished talking, they looks to their company, waiting for additions.

Helen: I think for me, it was quite clear from the beginning on, that I
didn’t wanted to make a portrait as we know it on a person, because we
were also looking into what can a portrait be and also in looking into
history and I wanted to make…  a portrait on things that are… in between of
what we usually don’t see or on what we don’t pay attention to and… ehm…
things that are not tangible and giving like a „Leinwand“ as my body
to what is happening around me and inside of me and accumulating that. Ya.

Helen sits with a straight back; their upper body shifts slowly and tenderly from one side to the other, almost imperceptible. While someone else is speaking, her gaze sometimes turns slowly from the speaker to the camera, back and forth or to an indifferent point somewhere in between. Before Helen starts speaking, they smiles covertly. While speaking, she is gesturing and, like iSaAc, places her hands on the knees when stopping.

Lars: Ya, I think, that I also share like a common understanding of a concept of
portraits I guess… and in my solo it was … a lot for me a lot about …like questioning what I can…like
represent on stage, what I can speak for, what I can not speak for, a negotiation, a process, and it’s also not like… a portrait of me, like individually but like more also of a question of like what I can portray through myself or my body as a medium and… yeah.  Or like a vessel. And… yeah. So. Right.

Lars sits in the cross-legged position again, rubbing the hands gently while speaking.

Brigitte: I think I… I speak to a ghost. And my portrait is for someone who would like not to be named and at the same time is an appropriated to take that identity and I think it is important to understand signs. Also like social signs.

Brigitte stares at an undefined point in front, speaks slowly and raises their hands. Their fingers slowly stretch, flex, twist, move as if they were alive independently, but still corresponding to Brigitte’s words. Lars puts back his sunglasses on his eyes.

And even though these people cannot speak by themselves because society has made them to the side and we cannot speak their names LOUDER because it is a non-appropriated way of speaking. And… they are not here.

Bella: sure. I guess, there is also … or, for me, there is this interesting twist in your piece because you’re dealing with portraits and for me these portraits aren’t really moving and then you’re working with dance. And then in these dance solos you’re also working with masks. And I think… I guess I wanted to ask what kind of impact do these masks mean for the movement or also in general for this dance piece to you?

Brigitte: I think this mask became like a statue… a symbol or that monuments… statues that are gonna fall down one day. Because they’re a representation of nothing… And just… bricks. What about taking care of yourself as an extension of many. And… this mask play for us like an entity… identity complex of many. And it’s kind of quasi another person. Imaginary person.

Isaac: I also like what Kerima said. I mean the fashion designer. Who did the costumes and also printed the masks. For her it’s this… like… surface. Representing… you know, like… We portray ourselves in such a way online, perhaps different and with the mask, that’s her way of approaching. Am I right?

Turns to Brigitte

Brig: Ja

nods encouragingly

Isaac: The construction of this whole thing, you’re just putting on a face, how would it be to have this  mask, this mask, walking on the street, basically…

Laughing, brushing back their hair with one hand

Am I wearing a mask when I post on Instagram or, you know, kind of like this. For me, I use the mask in my solo because of mentioning of this collage. For me, the mask it allows me to have this anonymity that I’m looking for. Like, for me. Like not people to connect directly to me, so the body is the one speaking. So I love my hair to fall in front, and the mask allows me in this moment to have this… to embody… I’m embodying so many people, so my face would be in the way. Somehow. So this is how I use Kerimas beautiful mask and ahm… Maybe I pass it on to the other ones – I think everyone of you play with the mask and have different approaches also.

Turning towards the others, strokes her hair

Helen straightens her back, looks at the others while speaking, moving their hands apart and toether again, them mirroring each other

Helen: I think the mask became a fifth entity in our group. It’s another body. And you can observe similarities and things that are different from you. so in the end ist also something that we share.

Folds their hands together, looking at the others who rest silent

Everyone exchanging gazes, looking at Lars, chuckling

Lars: Ahm…

Bella: You can also silently agree or something, that’s totally fine…

Lars and Bella laughing

Helen: Plus one!

raising a finger

Lars: plus one!

Lars also raises a finger, laughs

Isaac: I mean it’s a bit, I mean, I must say I’m very honoured that Brigitte chose but one face

iSaAc and Brigitte leaning towards each other, everyone giggling

because, this fifth identity, we don’t have each a mask, it’s just one mask, theoretically based on… it’s my face! Which is dancing or… I mean you’re wearing your face it’s a bit… interesting.

iSaAc touches the mask of their necklace

Bella: Yeah, for sure.

Brigitte: The technology can change things, too, and this face also became not just your face any more. Though… the printing in all this. Also the costumes, the body that we are carrying on. They are in this… how much do you invest to wear yourself or peoples, other people’s clothes

Bella: Yeah, for sure… and also I guess, that’s a good connection tot he next question I guess, because I would like to know what does it mean dance to you in terms of social images? I mean we had this mask but it’s also a very personal mask I guess for all of you in this team. But also, you’re dealing with identities and all. And when you deal with Identities and confront yourself with identities also in a social discourse you also have to deal with external attribution and so on and I would like to hear from you what does this mean in terms of dance.

Brigitte: I think it’s cruel to name objects. And I think names are just words. And… it is irritating so say why dance should be dance. Because I think dance for me… it can be connected through many understandings and complexities. And it is not just a form. It is not just training bodies. It is also…. It can go beyond, intercommunicate, interrelate, with others. Non necessary someone that knows about dance can understand dance. For me it’s the… like… kind of… through your body you are able to connect and exist in different faces since you use the smartphone!

Brigitte raises the smartphone

But it’s movementwise and can speak many languages at the same time.

They wave the hand back and forth between the smartphone and their chest

And… not a language as a verbal language. But it’s more like… sensorial.

Their fingers first touching their lips, then moving as if they were grabbing something in the air

Translated in different disciplines on how the movement of this draw

Draws something invisibly in the air

can be in my dance and the choreographic work. How can films choreograph the eyes of the people. How audio can stay with themselves and make them on reality to music

Bella: You said that everyone can understand dance in their own way. Is that also why you place this piece outside so also not everyone sees all of your solos there’s also like… in the public space, there is people who see different kinds of solos maybe? And maybe doesn’t know the whole picture of it or the whole show of it but is confronted with it and has to be with it by their own?

Brigitte: Yeah…. It’s very rewarding because you can reach a lot of different audience. It’s very generous, that way of thinking, that everyone can understand dance because it’s something that we share in common and that is not capitalised or something like. It’s a body that we are sharing. And we are transforming it. So it’s in a privileged space. Yes. And the people don’t have to pay a ticket to see someone moving. First of all. And I think the interpretation and the imagination of the people opens more when something in the street is happening. Like that is not so daily. And the people who is taking part of the performance with the audio, they also have a different understanding of what they are seeing for those that they don’t have it. So it’s like you versus the other. It’s like… everyone is in the sae place and it’s within the city.

Bella: Yeah, for sure. And what were your experiences here in Hildesheim? I mean you also had this crazy set so we produced the video of it and it’s also… I mean, it creates a lot of attention I guess, and what were your experiences and how does the piece develop here in Hildesheim?

Everyone taking a moment to remember the situations, they start to smile

Brigitte: Interesting!

iSaAc: Lots of children!

Laughs

I think very crazy so far! That was very cute.

Lars: supercute!

Isaac: Yeah, they wanted to see the eyes very close.

Laughs, everyone joining the laughter

Brigitte: Yaaaaaah! The eyes! Like: “Are you… are you, are they real? Or… You look like cyborgs, somehow!”

everyone chuckling

Helen: They were a bit afraid though!

Helen and Brigitte exchanging gazes, agreeing

Lars: Yeah… also the kids from the kindergarten.

Points behind him

They were like… lining up at the fence and they were like

imitates the kids holding the fence

looking at us. Ehm, but also, yeah. And I also think Hildesheim ist really cute.

Brigitte: And I remember the image of this neighbour, watching from his window with a cigarette

leans forward with an imaginary cigarette in their fingers, gazing curiously

like this. and it was SO nice to see that because he was just like stopping at his window in his home and looking down to the street, what’s going on. There’s also another guy who take a seat, and watch.

Isaac: Yes, some people stop to watch while we were filming. And some feedback as well!

Brigitte: Ah, ya!

Isaac: some commentaries. “So nice!”

Holding a thumb up, laughs

Brigitte:

seemingly a memory pops up in a sudden, they suddenly raise a finger, leaning towards iSaAc

There was a man, like when you were dancing, that he was praying!

makes the sign of a cross

He was like

imitates the gaze of the man, repeats the gesture several times

Bella: (jokingly) To you of for you?

Brigitte:

shrugs, laughing, raising their palms in a perplexed manner, Isaac and Bella laughing with Brigitte

I don’t know! I was like… whats happening? He (towards iSaAc) was dancing like crazy, so he was

Brigitte repeating the cross gesture

Isaac: I should give him my number!

Laughing

Brigitte: Interesting images. Very inspiring also to me!

Helen: In this film I also think that rehearsals are very… valuable! Because there is another energy. Another openness. For people who think we’re part of the city somehow. I wonder how it changes in the performative state.

Bella: For sure! I mean you all probably danced in closed rooms or something like that or stages or something… Do you think there is a new or another quality of a dynamic of movement when you do it outside or… what do you think about?

Helen: Yes! Definitely yes.

Helen starts moving their hands in slow waves

I mean you have much more space so the enery is… the quality of the energy is really different. It’s more spread but there is also nature, also urban nature, that is part of your scenery. You cannot choose it but you can also not ignore it. So it becomes much more complex than a black box stage I would say. For me it’s interesting also, because I work a lot with skin.

Touches their arms, hands, fingers

That you feel temperature, you feel wind, you… hear sounds. It’s all the inspiration in the end. And you need to find the translation to what you’re working with. That it’s not random.

Brigitte: It feels like I can carry the space and the space can shape me or I can shape the space. And this is not happening in the theatre. Even though you create it. In my opinion.

Isaac: I think I like a lot the coming to Hildesheim because of course it’s outside but it’s like completely different vibes, different city, the walk is different, the spots where I danced, the portraits of mine, all being so different. So it brings a new energy. And also what Brigitte said this identity… one can come more forward than he other ones.

Holding their hands in front, forming two layers with one coming more forward

So it changes a little bit also in my emotional state somehow. Because Hildesheim, I have this …

forms a form with his hands in the air

… what do you call this?

Brigitte: grave.

Isaac: …graves nearby and phew! It’s such a strong…! And beautiful!

Bella: Yeah and also like you told about that the most of your collage is of your […?] this becomes a new aspect or something like that, also maybe to your movement, right?

Isaac: Yes, and that’s for example the magic that Brigitte shows the place when she came and she decided for us and she new, ok, I want to bring me to another state, being outside, not only a green area but also something that could also bring my experience to another level.

looks at Brigitte, both rest in thoughts

Brigitte:

grins

who is Brigitte?

Isaac: Who is Brigitte?

Bella, Brigitte and iSaAc laughing, iSaAc stretching their legs

Bella: Ehm, we already talked a little bit about it and for me now the picture is like when I see you, your piece like three times, is there every time is it different, because of the atmosphere in general, because of the weather or something or do you have strictly rehearsed choreographies?

All of them laughing, Lars utters a purposeful fake laughter, everyone laughing even more

Bella: Yeah you don’t have to answer, totally fine!

Brigitte: The laughter speaks by this, so…

iSaAc: It’s a mix! It’s a compromise.

Helen: You should watch it three times.

Everyone agreeing: Yes, you should watch it three times.

Bella: Yeah I mean I will totally watch it many more times, I have like, I have many impressions like the video of cologne, then I saw I guess some videos from…

Lars: PACT

Bella: right, and then, eh… No, my question was more about like in general, do you work, do you understand dance as a… as… a strict rehearsed principle or something or is it for you like more in the moment and react maybe also to the audience and also to the energy of the audience. Or (towards Lars) you also talked about how you… how… the… atmosphere outside is influenced by you.

Helen: For me personally, it is different every time. I created a base, a research that I understand and probably no one else. And I think everyone will see something different in that. But also every time it is new I don’t know what will happen. Maybe one time I will also quit it.

Everyone smiling and nodding, Lars flips his fingers

Brigitte: Eeeehm…my… for me personally, the energy of the place is important. And... when we change, it became strong in my performance. It can be more sensitive or more accurate. Depends of the energy of the space. Because I need this loudness. I need the dirtiness…

sound of a siren appearing, Brigitte grins

exactly.

Helen:

points in the direction of the sound

This.

Brigitte:

laughing, agrees

this! And, ehm, technically talking about choreographies…

Helen: What is the…

Brigitte:

in a gesture of wondering, thinking, looking up

What is choreography?

turning to Helen

Technically talking about choreography? … I don’t know.

Lars:

taking his cellphone to his ear

Yeah I think the nineties just called.

Everyone laughing

Isaac: Yeah but I don’t know… it’s a very good question. Like, for this one I have a set of material. That is not set like, ah…

makes snatchy gestures forming strict borders in the air

It’s just… elements, that everytime I choose how to put them together

gestures dynamically, drawing invisible lines in the air

Each performance is different. But I also gave me the task to break it if necessary but try to keep true to this puzzle, these pieces.

Forming different things with his hands in the air, making gestures as if grabbing things and putting them togehter

every time it’s a new portrait so to speak. A new collage. And those decisions are made in the moment. But I do prepare these pieces before. I mean, speaking of yes, you know, dancewise. “choreography”

drawing quotation marks with his fingers

Yes, but I could… I would confess that I could never do a piece that I have to  repeat a set of movements a million times. Until I “embody” it rightly

drawing quotation marks with his fingers

Brigitte:

leaning with their elbows on their knees

It’s boring, no?

iSaAc: It’s a bit boring, yes.

Helen: Boring.

iSaAc: I mean that’s a luxury to have a trust… trusting team where you…

shifts with body and gaze towards the team

immerse in these questions of like… authentic movement, in terms of what feels authentic for me how to move, what… how my body speaks, a repertoire like… a vocabulary I possess because I’m small, thin or big, or whatever this… just for your answer, this is what I can do. Ar least you see our quality, potential instead of fitting it somewhere. Right?

Forming a square with his hands

Brigitte: Yeah. It’s to see, ya, how many techniques you have in the body. And how articulated you are with them. And how you can place it at any time and use it and recall it and throw it away and regulate the volume how your body possibilities are made, principle for it. And how your performative your state of mind and that space will be. And I think this is kind of the rehearsal time. Or at least the preparation for every portrait. Already thinking is a training. Already to prepare by thinking, is a training.  And this

raises their hands to their head

comes to this

lowers them to their chest

and we both work in space

moves the hands together and apart

and what it have been proposed. And explore it. And transform it

makes a gesture merging invisible material between their hands and pushes it forward

and give to you this and I gave back an answer. I receive back an answer. And I question. Another one question maybe. And we are solving it in the moment. Like, is there a… is there an essence we are reaching for. Yes. We recall many … many images maybe for previous or for movements. Or this movement, we have done this before. As in this movement you will need to come back. It’s important that you manifestate your movement forth. At this specific high pitch of the song or

stares at an indifferent point in front, turns their hands as if regulating sound systems

I wanted to speak with the moves, you see, or like whatever. But is there a structure to follow, like, a timingwise structure, and..

laughs, turns to Helen

Group choreographies are the most complex?

turns back to Bella

Yes.

Bella: Ok thanks, I guess I’m much smarter than before, also regarding seeing this piece tomorrow, I means it’s recorded and not live, so… ehm… yeah. I don’t have any more questions but if you want to say anything like for the end or something if you have any statements or something. Now it’s the time. But if not it’s also fine.

Brigitte:

looking around, turning into an expressive pose, gurns, smiles

Bella: It was nice talking to you! I wish you luck for tomorrow and the day after. I’m very curious!

Lars, Brigitte, Helen, iSaAc: Thank you Bella!

DE

Ein Fragebogen zur Selbstreflexion

Hast du dich in einem Bild, in einem Maskenabdruck wieder erkannt?
Du kannst hier einen Fragebogen (PDF) herunterladen. Darin sind Fragen zur Selbstreflexion an dich. Anschließend besteht die Möglichkeit, in einen Austausch über ein Padlet zu gehen..
Lass dich auf eine Entdeckung unserer Bilder, deiner bekannten und auch unbekannten Gedanken ein.

Hier ist der Link zum Padlet: Klicke hier, um zu dem Padlet zu gelangen.

EN

A self-reflection questionnaire

Did you recognize yourself in a picture, in a mask print?
You can download a questionnaire (PDF) here. It contains questions for your self-reflection. Afterwards there is the possibility to enter into an exchange via a padlet. Get involved in a discovery of our images, your known and also unknown thoughts.

 Here is the link to the padlet: click here to go to the padlet.

Download PDF

DE

Kaum ein Thema wird zur Zeit kontroverser in den Feuilletons diskutiert als Identität und  Identitätspolitik. 

Bellatrix Ziegler wird im Gespräch mit Brigitte Huezo, iSaAc Espinoza Hidrobo, Helen Burghardt und Lars nicht von Trier auf deren tänzerische Darbietung von Identität in "Portraits"  eingehen. Wie wirken sich unterschiedliche Positionen in der Gesellschaft auf den Blick auf Identitäten aus?

EN

Hardly any topic is currently more controversially discussed in the feuilletons than identity and identity politics. 

Bellatrix Ziegler will discuss with Brigitte Huezo, iSaAc Espinoza Hidrobo, Helen Burghardt and Lars nicht von Trier their dance performance of identity in "Portraits". How do different positions in society affect the view of identities?

Bellatrix Ziegler, Brigitte Huezo, iSaAc Espinoza Hidrobo, Helen Burghardt and Lars nicht von Trier

Englisch/ English

Lars nicht von Trier, Helen Burghardt, iSaAc Espinoza Hidrobo and Brigitte Huezo sitting next to each other on a wooden platform at Rasselmania, an open-air-space that is one spot of the audio walk “Portraits”. Behind them are trees, the wind blows from time to time through the leaves. Their eyes are unnaturally bright with big black pupils, these are contact lenses. Some have dark lipstick on, some have wear make-up next to their eyes or lips. Bellatrix Ziegler from the festival team is next to them; they all sit cross-legged. Bella sits on the right, dressed in black, the festival programme and some notes in front of her. She speaks to the camera.

Bella: Dear audience, welcome to the artist-talk with Brigitte Huezo and team.
My name is Bellatrix Ziegler I am one of the curators, this year of the
transeuropa- festival and we are talking now about the work
„Portraits“ with Lars nicht von Trier, Helen Burghardt, iSaAc Espinoza Hidrobo and Brigitte Huezo. So, I have prepared some questions and the
first of its is: „What made you create a piece about identity?“

The team starts to look at each other, Lars takes a sip of his bottle of lemonade brand “Biozisch”, Brigitte starts to speak.

„Em… I think identities like… It is the need for me, of passing
through life-experiences… at the same time, I am not defined by them
and there are many identities in this work and everyones contributions
and make a new one. So, its like identities for every different feel of
art. That’s why actually they inspire me to do a piece where
identities can coexist each other in a very complex system and being an extension of the other. So, that’s why I did this. We did this.

Brigitte speaks very thoughtfully, gesturing while talking. They wear black clothes and hold a smartphone in their hands. Lars takes down his sunglasses and puts them on his cap, rearranging his legs so he sits in a very elegant posture.

Bella: For sure… And what does in this piece or also in general, what
meaning does a portrait have for you but also for the rest of the team. laughs
So you can answer for yourself, but I think it’s an interesting
question of… I would like to hear about it.

iSaAc: I can start and … like same as Brigitte is saying, that the word
identities gave us the freedom to either curate, or create, construct or whatever
you would like to do… based on… to create this portrait, based on
all these identities. So like, it never had to be… at least for me, it was
never one person. I don´t portrait myself or another person and I
allowed me through the freedom that Brigitte gave me to construct a sort
of collage of different people I have met personally and I admire, many
of whom are dead and so it has a little bit of a homage to them and some
of them are still alive. So this my way of understanding this portrait
and I embody it with the physicals.

iSaAc smiles a lot and makes fluid gestures while talking. Every now and again they places their hands on their knees, as if the fingers needed to rest. They wears black clothes, big bright rosy boots and a necklace with a little grey mask. When finished talking, they looks to their company, waiting for additions.

Helen: I think for me, it was quite clear from the beginning on, that I
didn’t wanted to make a portrait as we know it on a person, because we
were also looking into what can a portrait be and also in looking into
history and I wanted to make…  a portrait on things that are… in between of
what we usually don’t see or on what we don’t pay attention to and… ehm…
things that are not tangible and giving like a „Leinwand“ as my body
to what is happening around me and inside of me and accumulating that. Ya.

Helen sits with a straight back; their upper body shifts slowly and tenderly from one side to the other, almost imperceptible. While someone else is speaking, her gaze sometimes turns slowly from the speaker to the camera, back and forth or to an indifferent point somewhere in between. Before Helen starts speaking, they smiles covertly. While speaking, she is gesturing and, like iSaAc, places her hands on the knees when stopping.

Lars: Ya, I think, that I also share like a common understanding of a concept of
portraits I guess… and in my solo it was … a lot for me a lot about …like questioning what I can…like
represent on stage, what I can speak for, what I can not speak for, a negotiation, a process, and it’s also not like… a portrait of me, like individually but like more also of a question of like what I can portray through myself or my body as a medium and… yeah.  Or like a vessel. And… yeah. So. Right.

Lars sits in the cross-legged position again, rubbing the hands gently while speaking.

Brigitte: I think I… I speak to a ghost. And my portrait is for someone who would like not to be named and at the same time is an appropriated to take that identity and I think it is important to understand signs. Also like social signs.

Brigitte stares at an undefined point in front, speaks slowly and raises their hands. Their fingers slowly stretch, flex, twist, move as if they were alive independently, but still corresponding to Brigitte’s words. Lars puts back his sunglasses on his eyes.

And even though these people cannot speak by themselves because society has made them to the side and we cannot speak their names LOUDER because it is a non-appropriated way of speaking. And… they are not here.

Bella: sure. I guess, there is also … or, for me, there is this interesting twist in your piece because you’re dealing with portraits and for me these portraits aren’t really moving and then you’re working with dance. And then in these dance solos you’re also working with masks. And I think… I guess I wanted to ask what kind of impact do these masks mean for the movement or also in general for this dance piece to you?

Brigitte: I think this mask became like a statue… a symbol or that monuments… statues that are gonna fall down one day. Because they’re a representation of nothing… And just… bricks. What about taking care of yourself as an extension of many. And… this mask play for us like an entity… identity complex of many. And it’s kind of quasi another person. Imaginary person.

Isaac: I also like what Kerima said. I mean the fashion designer. Who did the costumes and also printed the masks. For her it’s this… like… surface. Representing… you know, like… We portray ourselves in such a way online, perhaps different and with the mask, that’s her way of approaching. Am I right?

Turns to Brigitte

Brig: Ja

nods encouragingly

Isaac: The construction of this whole thing, you’re just putting on a face, how would it be to have this  mask, this mask, walking on the street, basically…

Laughing, brushing back their hair with one hand

Am I wearing a mask when I post on Instagram or, you know, kind of like this. For me, I use the mask in my solo because of mentioning of this collage. For me, the mask it allows me to have this anonymity that I’m looking for. Like, for me. Like not people to connect directly to me, so the body is the one speaking. So I love my hair to fall in front, and the mask allows me in this moment to have this… to embody… I’m embodying so many people, so my face would be in the way. Somehow. So this is how I use Kerimas beautiful mask and ahm… Maybe I pass it on to the other ones – I think everyone of you play with the mask and have different approaches also.

Turning towards the others, strokes her hair

Helen straightens her back, looks at the others while speaking, moving their hands apart and toether again, them mirroring each other

Helen: I think the mask became a fifth entity in our group. It’s another body. And you can observe similarities and things that are different from you. so in the end ist also something that we share.

Folds their hands together, looking at the others who rest silent

Everyone exchanging gazes, looking at Lars, chuckling

Lars: Ahm…

Bella: You can also silently agree or something, that’s totally fine…

Lars and Bella laughing

Helen: Plus one!

raising a finger

Lars: plus one!

Lars also raises a finger, laughs

Isaac: I mean it’s a bit, I mean, I must say I’m very honoured that Brigitte chose but one face

iSaAc and Brigitte leaning towards each other, everyone giggling

because, this fifth identity, we don’t have each a mask, it’s just one mask, theoretically based on… it’s my face! Which is dancing or… I mean you’re wearing your face it’s a bit… interesting.

iSaAc touches the mask of their necklace

Bella: Yeah, for sure.

Brigitte: The technology can change things, too, and this face also became not just your face any more. Though… the printing in all this. Also the costumes, the body that we are carrying on. They are in this… how much do you invest to wear yourself or peoples, other people’s clothes

Bella: Yeah, for sure… and also I guess, that’s a good connection tot he next question I guess, because I would like to know what does it mean dance to you in terms of social images? I mean we had this mask but it’s also a very personal mask I guess for all of you in this team. But also, you’re dealing with identities and all. And when you deal with Identities and confront yourself with identities also in a social discourse you also have to deal with external attribution and so on and I would like to hear from you what does this mean in terms of dance.

Brigitte: I think it’s cruel to name objects. And I think names are just words. And… it is irritating so say why dance should be dance. Because I think dance for me… it can be connected through many understandings and complexities. And it is not just a form. It is not just training bodies. It is also…. It can go beyond, intercommunicate, interrelate, with others. Non necessary someone that knows about dance can understand dance. For me it’s the… like… kind of… through your body you are able to connect and exist in different faces since you use the smartphone!

Brigitte raises the smartphone

But it’s movementwise and can speak many languages at the same time.

They wave the hand back and forth between the smartphone and their chest

And… not a language as a verbal language. But it’s more like… sensorial.

Their fingers first touching their lips, then moving as if they were grabbing something in the air

Translated in different disciplines on how the movement of this draw

Draws something invisibly in the air

can be in my dance and the choreographic work. How can films choreograph the eyes of the people. How audio can stay with themselves and make them on reality to music

Bella: You said that everyone can understand dance in their own way. Is that also why you place this piece outside so also not everyone sees all of your solos there’s also like… in the public space, there is people who see different kinds of solos maybe? And maybe doesn’t know the whole picture of it or the whole show of it but is confronted with it and has to be with it by their own?

Brigitte: Yeah…. It’s very rewarding because you can reach a lot of different audience. It’s very generous, that way of thinking, that everyone can understand dance because it’s something that we share in common and that is not capitalised or something like. It’s a body that we are sharing. And we are transforming it. So it’s in a privileged space. Yes. And the people don’t have to pay a ticket to see someone moving. First of all. And I think the interpretation and the imagination of the people opens more when something in the street is happening. Like that is not so daily. And the people who is taking part of the performance with the audio, they also have a different understanding of what they are seeing for those that they don’t have it. So it’s like you versus the other. It’s like… everyone is in the sae place and it’s within the city.

Bella: Yeah, for sure. And what were your experiences here in Hildesheim? I mean you also had this crazy set so we produced the video of it and it’s also… I mean, it creates a lot of attention I guess, and what were your experiences and how does the piece develop here in Hildesheim?

Everyone taking a moment to remember the situations, they start to smile

Brigitte: Interesting!

iSaAc: Lots of children!

Laughs

I think very crazy so far! That was very cute.

Lars: supercute!

Isaac: Yeah, they wanted to see the eyes very close.

Laughs, everyone joining the laughter

Brigitte: Yaaaaaah! The eyes! Like: “Are you… are you, are they real? Or… You look like cyborgs, somehow!”

everyone chuckling

Helen: They were a bit afraid though!

Helen and Brigitte exchanging gazes, agreeing

Lars: Yeah… also the kids from the kindergarten.

Points behind him

They were like… lining up at the fence and they were like

imitates the kids holding the fence

looking at us. Ehm, but also, yeah. And I also think Hildesheim ist really cute.

Brigitte: And I remember the image of this neighbour, watching from his window with a cigarette

leans forward with an imaginary cigarette in their fingers, gazing curiously

like this. and it was SO nice to see that because he was just like stopping at his window in his home and looking down to the street, what’s going on. There’s also another guy who take a seat, and watch.

Isaac: Yes, some people stop to watch while we were filming. And some feedback as well!

Brigitte: Ah, ya!

Isaac: some commentaries. “So nice!”

Holding a thumb up, laughs

Brigitte:

seemingly a memory pops up in a sudden, they suddenly raise a finger, leaning towards iSaAc

There was a man, like when you were dancing, that he was praying!

makes the sign of a cross

He was like

imitates the gaze of the man, repeats the gesture several times

Bella: (jokingly) To you of for you?

Brigitte:

shrugs, laughing, raising their palms in a perplexed manner, Isaac and Bella laughing with Brigitte

I don’t know! I was like… whats happening? He (towards iSaAc) was dancing like crazy, so he was

Brigitte repeating the cross gesture

Isaac: I should give him my number!

Laughing

Brigitte: Interesting images. Very inspiring also to me!

Helen: In this film I also think that rehearsals are very… valuable! Because there is another energy. Another openness. For people who think we’re part of the city somehow. I wonder how it changes in the performative state.

Bella: For sure! I mean you all probably danced in closed rooms or something like that or stages or something… Do you think there is a new or another quality of a dynamic of movement when you do it outside or… what do you think about?

Helen: Yes! Definitely yes.

Helen starts moving their hands in slow waves

I mean you have much more space so the enery is… the quality of the energy is really different. It’s more spread but there is also nature, also urban nature, that is part of your scenery. You cannot choose it but you can also not ignore it. So it becomes much more complex than a black box stage I would say. For me it’s interesting also, because I work a lot with skin.

Touches their arms, hands, fingers

That you feel temperature, you feel wind, you… hear sounds. It’s all the inspiration in the end. And you need to find the translation to what you’re working with. That it’s not random.

Brigitte: It feels like I can carry the space and the space can shape me or I can shape the space. And this is not happening in the theatre. Even though you create it. In my opinion.

Isaac: I think I like a lot the coming to Hildesheim because of course it’s outside but it’s like completely different vibes, different city, the walk is different, the spots where I danced, the portraits of mine, all being so different. So it brings a new energy. And also what Brigitte said this identity… one can come more forward than he other ones.

Holding their hands in front, forming two layers with one coming more forward

So it changes a little bit also in my emotional state somehow. Because Hildesheim, I have this …

forms a form with his hands in the air

… what do you call this?

Brigitte: grave.

Isaac: …graves nearby and phew! It’s such a strong…! And beautiful!

Bella: Yeah and also like you told about that the most of your collage is of your […?] this becomes a new aspect or something like that, also maybe to your movement, right?

Isaac: Yes, and that’s for example the magic that Brigitte shows the place when she came and she decided for us and she new, ok, I want to bring me to another state, being outside, not only a green area but also something that could also bring my experience to another level.

looks at Brigitte, both rest in thoughts

Brigitte:

grins

who is Brigitte?

Isaac: Who is Brigitte?

Bella, Brigitte and iSaAc laughing, iSaAc stretching their legs

Bella: Ehm, we already talked a little bit about it and for me now the picture is like when I see you, your piece like three times, is there every time is it different, because of the atmosphere in general, because of the weather or something or do you have strictly rehearsed choreographies?

All of them laughing, Lars utters a purposeful fake laughter, everyone laughing even more

Bella: Yeah you don’t have to answer, totally fine!

Brigitte: The laughter speaks by this, so…

iSaAc: It’s a mix! It’s a compromise.

Helen: You should watch it three times.

Everyone agreeing: Yes, you should watch it three times.

Bella: Yeah I mean I will totally watch it many more times, I have like, I have many impressions like the video of cologne, then I saw I guess some videos from…

Lars: PACT

Bella: right, and then, eh… No, my question was more about like in general, do you work, do you understand dance as a… as… a strict rehearsed principle or something or is it for you like more in the moment and react maybe also to the audience and also to the energy of the audience. Or (towards Lars) you also talked about how you… how… the… atmosphere outside is influenced by you.

Helen: For me personally, it is different every time. I created a base, a research that I understand and probably no one else. And I think everyone will see something different in that. But also every time it is new I don’t know what will happen. Maybe one time I will also quit it.

Everyone smiling and nodding, Lars flips his fingers

Brigitte: Eeeehm…my… for me personally, the energy of the place is important. And... when we change, it became strong in my performance. It can be more sensitive or more accurate. Depends of the energy of the space. Because I need this loudness. I need the dirtiness…

sound of a siren appearing, Brigitte grins

exactly.

Helen:

points in the direction of the sound

This.

Brigitte:

laughing, agrees

this! And, ehm, technically talking about choreographies…

Helen: What is the…

Brigitte:

in a gesture of wondering, thinking, looking up

What is choreography?

turning to Helen

Technically talking about choreography? … I don’t know.

Lars:

taking his cellphone to his ear

Yeah I think the nineties just called.

Everyone laughing

Isaac: Yeah but I don’t know… it’s a very good question. Like, for this one I have a set of material. That is not set like, ah…

makes snatchy gestures forming strict borders in the air

It’s just… elements, that everytime I choose how to put them together

gestures dynamically, drawing invisible lines in the air

Each performance is different. But I also gave me the task to break it if necessary but try to keep true to this puzzle, these pieces.

Forming different things with his hands in the air, making gestures as if grabbing things and putting them togehter

every time it’s a new portrait so to speak. A new collage. And those decisions are made in the moment. But I do prepare these pieces before. I mean, speaking of yes, you know, dancewise. “choreography”

drawing quotation marks with his fingers

Yes, but I could… I would confess that I could never do a piece that I have to  repeat a set of movements a million times. Until I “embody” it rightly

drawing quotation marks with his fingers

Brigitte:

leaning with their elbows on their knees

It’s boring, no?

iSaAc: It’s a bit boring, yes.

Helen: Boring.

iSaAc: I mean that’s a luxury to have a trust… trusting team where you…

shifts with body and gaze towards the team

immerse in these questions of like… authentic movement, in terms of what feels authentic for me how to move, what… how my body speaks, a repertoire like… a vocabulary I possess because I’m small, thin or big, or whatever this… just for your answer, this is what I can do. Ar least you see our quality, potential instead of fitting it somewhere. Right?

Forming a square with his hands

Brigitte: Yeah. It’s to see, ya, how many techniques you have in the body. And how articulated you are with them. And how you can place it at any time and use it and recall it and throw it away and regulate the volume how your body possibilities are made, principle for it. And how your performative your state of mind and that space will be. And I think this is kind of the rehearsal time. Or at least the preparation for every portrait. Already thinking is a training. Already to prepare by thinking, is a training.  And this

raises their hands to their head

comes to this

lowers them to their chest

and we both work in space

moves the hands together and apart

and what it have been proposed. And explore it. And transform it

makes a gesture merging invisible material between their hands and pushes it forward

and give to you this and I gave back an answer. I receive back an answer. And I question. Another one question maybe. And we are solving it in the moment. Like, is there a… is there an essence we are reaching for. Yes. We recall many … many images maybe for previous or for movements. Or this movement, we have done this before. As in this movement you will need to come back. It’s important that you manifestate your movement forth. At this specific high pitch of the song or

stares at an indifferent point in front, turns their hands as if regulating sound systems

I wanted to speak with the moves, you see, or like whatever. But is there a structure to follow, like, a timingwise structure, and..

laughs, turns to Helen

Group choreographies are the most complex?

turns back to Bella

Yes.

Bella: Ok thanks, I guess I’m much smarter than before, also regarding seeing this piece tomorrow, I means it’s recorded and not live, so… ehm… yeah. I don’t have any more questions but if you want to say anything like for the end or something if you have any statements or something. Now it’s the time. But if not it’s also fine.

Brigitte:

looking around, turning into an expressive pose, gurns, smiles

Bella: It was nice talking to you! I wish you luck for tomorrow and the day after. I’m very curious!

Lars, Brigitte, Helen, iSaAc: Thank you Bella!