This text is an excerpt of Elisabeth’s Master thesis, in which she explored her explained research in set choreography.
A dancer opposite hollow blackness. Almost impossible to know where it starts and where it ends, the darkness fills the air with anticipation, with expectation. Eyes, hidden in the gloom. Eyes, there to watch, to be entertained, waiting to receive. Memories of routine are spread out, habits mixed with a sense of excitement. A body, embracing the pressure of giving, of presenting the known. The familiar, so readily available within. Curiosity and grounding, confidently invading the body. Moments passing revelations. Discoveries. Light, music, movement; without warning, the dance begins to unfold. Words and expectations dissolve by sleight of a body. The fixed and singular sense of vision retrieves and conjoins a motion engaging all the senses, now acting in concert. The being of flux: embracing the shifting perception of time. Dance. Energy releasing, opening spaces. Energy of movement that peels off boundaries and opens the body to space. Space, at the same time, becomes permeable. Bodies exceed physical borders. Vibrating from edge to edge, through edges. Freeing themselves from themselves, taking space, taking all spaces. Reverberating with and against, moving through. Borders, lines, definitions – become fluid. It is but a question of experience. Experience, grounded in the realm of sensations, escapes the field of language by its very nature. But this experience – hic et nunc – is shared; it becomes experience in its sharing. It exists in the interstices, in the interconnections, the interactions with/in sensations. There is no catching, just juggling. The body is immersed in fluctuating instincts, guided within relational activities. The dancing body is dancing itself as much as it is danced by others. Being is being part. Dance is an inter-active emergence.