Thursday, 1 June 2017

One Dramaturgy before the Fall: Spitfire @ Edfringe 2017


Aug 16, 17, 20, 21, 22, 24
Price: £14, consc. £12

What was the inspiration for this performance?
The show is an impressionistic vision of triumph and loss, physical combat and exhaustion, inspired by Muhammad Ali's most challenging fight - his battle against the Parkinson's disease. The character of Ali and his fight against an incurable disease is, however, just an initial metaphor where the spectator can place his own opponent, be it illness, tragic death, gender, social or racial limitations. 

The resulting work is primarily about human suffering and the associated hope in victory. The archetypal nature of Ali's struggle becomes, in terms of the content of the performance, a symbol of human destiny.

Is performance still a good space for the public discussion of ideas? 
Definitely, in performance the spectator is front of a live performer, that is a unique characteristic that allows for the communication to happen in a special way. Performance is in this way part of the public sphere and brings questions and topics for the audience to reflect and reconsider.

How did you become interested in making performance?

I was always interested in dialogue. I graduated in philology and philosophy at Charles University, and among the interests was research on the creation of discourses, conditions of communication and so on. At some point, I discovered that the theories are not enough and that I need to apply them and use them in practice. 

And I fell in love with the dance, the performative theater, and in them I explore one essential phenomenon: how to communicate with others without using words. That's why I'm fascinated by visual, non-verbal communication, archetypal attitudes, and subconscious reactions. I believe we cannot lie in this dialogue.

Is there any particular approach to the making of the show?
The performance is devised under my direction between Markéta, the dancer/choreographer, Lenka, the singer/musician and me, the director. 

Does the show fit with your usual productions?
The main tools of the Spitfire Company is to create an original body language, emphasis on the performer´s state of being that generates very present emotions, dealing with a human´s limitation and his/her existential situation. In this performance these aspects are very clearly seen and experienced.

What do you hope that the audience will experience?
So far the audience were always highly moved by the performance. As both Markéta and also Lenka puts into the show not only their body and voice, but also their souls…what will they experience? Joy, pain, suffer, love and lots of vibration?...

Lets leave it up to the audience…each of them will have an individual experience …

What strategies did you consider towards shaping this audience experience?

I want to reveal in audiences new, unexpected possibilities of perception. Take them into a common labyrinth of archetypal existence. Tell them that the fight they see is their struggle, whatever the adversary is. Once our photographer's10-year-old son put it in the best way possible: Dad, it's not Markéta who's dancing, it's her soul." 

And I see this as beautiful: to see the soul of another person. To be with him/her when he/her reveals his/her soul. Being present to the spiritual experience through the theater. I believe it is possible. And I believe, thanks to such experience, we are leaving the theatre inspired.

No comments :

Post a Comment