fragmenta.dos (o tres)

(Un Teatro, 11 February 2016)

In bad dance, just like in bad poetry, it is hard to hide. Nor is one compelled to hide in dance (or in mathematics or poetry), as one is liable to believe (falsely) that the medium’s abstraction alone must obfuscate sufficiently.

Violence is an instrumental need. When the end is clear and a superior means is available, violence is not demanded. When the vision of the end is blurred, however, violence can bring direct gratification.

The dances prioritise expression over communication. The dancers talk at each other, past each other, but rarely to each other. Skills, just as violence, are embraced instinctively, for their instrumental value, and are deployed to awake, to feel awake, to challenge, to risk—with no clear end.

No narrative is offered or invited; causality is denied; instruction is inaccessible. Aesthetic gratification is limited.