Moving Words – 4 evenings composed by Mette Edvardsen – Thursday 16 April

Thursday 16 April

• Ocean Breath by Itziar Okariz @ 19.00 (*duration 20 minutes)
• Rewriting by Jonathan Burrows @ 19.30 (*duration 45 minutes)
• The Solo Piece by Matteo Fargion @ 20.30 (*duration 25 minutes)

TICKETS
MOVING WORDS PASS – 4 Evening Pass


Ocean Breath by Itziar Okariz 

This work is built from a choral of breathing patterns. Ocean Breath, also call Ujjayi is a breathing technique used in yoga practice, which the artist teaches. The word ujjayi means “I victorious”, though it is more often translated as “ocean breathing” due to the image it conjures. The piece’s figurative nature is important, somewhere between the abstract space of the sound of breathing and the figuration it generates; as if the sign and its meaning were separated, fractured.

concept: Itziar Okariz
created and performed by: Itziar Okariz and Izar Ocariz
photos: Still of a video by Jesus Pueyo.


Rewriting by Jonathan Burrows 

Of what does the practice of choreographing consist? In Rewriting, Jonathan Burrows attempts – by turns hesitantly and exuberantly – to map out the unknown territory known as choreography. On the one hand, he starts from a performance that took him two years to make but which he has never presented to an audience before, and on the other, he uses passages from his book A Choreographers’ Handbook (2010). In contrast to the dominant model, which assumes that a successful production is the result of a fixed, predetermined idea, Burrows proposes a practice of a slow, coincidental accumulation of meanings that emerges during the work itself. He likes to quote Mette Edvardsen, who describes her own work as ‘the dust that accumulates through the working’.   

Made and performed by Jonathan Burrows

Jonathan Burrows is supported by PACT Zollverein Essen, Sadler’s Wells Theatre London and BIT Teatergarasjen Bergen.

www.jonathanburrows.info


The Solo Piece by Matteo Fargion

The Solo Piece was commissioned by the Labor Sonor Festival, Berlin 2018, for which I was one of six composers invited to make dance pieces.  

I thought it might be interesting to have another go at translating the score of Morton Feldman’s For John Cage, which Jonathan and I borrowed to make our first duo performance Both Sitting Duet in 2002, and which was recently retranslated by Eleanor Sikorski and Flora Wellesley Wesley (aka Nora) to make Eleanor & Flora Music.  

But this time it’s just me on stage, waiving my arms.  And this more lonely counterpoint is now between my voice and the meaningless gestures that I make. There is almost no new material in the piece, it’s all shamelessly stolen from those early duets made with Jonathan, and I liked how different it looked when rewritten in this way.  

Created and performed by Matteo Fargion