Concept, choreography, scenography: Francesco Scavetta and Gry Kipperberg Music and live electronics: Luigi Ceccarelli Dancer: Gry Kipperberg Musician: Daniele Roccato (double bass) Costume design: Gjøril Bjercke Sæther Light design: Stefano Stacchini Light: Gunnvá Meinseth Photo: Wee Produced by: Wee Co-production: Dansens Hus/Oslo, Edison Studio/Roma In collaboration with: Teatro Comunale di Cagli (I) Tuscania Teatro (I), Vitlycke-Centre for Performing Arts
Supported by: Arts Council Norway, Fond for Lyd og Bilde, Fund for performing artist, The Italian Cultural Institute in Oslo, UD/DTS
Duration: circa 60 min
19.08 - 20.08
Strangely enough it’s a solo performed by Gry Kipperberg. The music is composed by Luigi Ceccarelli and played live by the contrabassist Daniele Roccato.
An intimate microcosm, inspired by references from movies, that focus on subtle and intimate. Where images are simultaneously simple and enigmatic, visible and hidden. Where the floating quality of the movement, blends into theatrical actions, video and sound landscapes, inviting the audience to create visual analogies, shaped by their recognition and self-reflection.
Nobody knows, but I know, you know. Searching for what’s happened. Trying to make sense by puzzling bits and pieces.
Places. Situations. Memories. I have been there, yes, it’s true.
No need for chronologies. It happens, doesn’t matter when.
One time, two times. Can you see what I see. Shifting. Moving. Changing. Blurring. Seen from different points of view, as we ourselves see the world from different points of view.
Tuesday, 18. August. 4 pm.
What does she want? What does she find – except for the feeling of sinking into a transparent place where she can disappear and re-appear.
It’s like something has faded away. It was there, but it’s not anymore. It’s like removing a painting hanging from the wall where it has been for a long time. The wall will contain the memory of its presence, even after it’s not there anymore. Nobody knows, but I know, you know.
Time of my life.
The piece deals with the relationship between physicality and the perception of intimate states. Body experiences, with focus on the subtle and intimate, are contra-posed, and collide with, sound landscapes and conceptual reproduction of unauthentic and constructed situations and spaces. Where images are simultaneously simple and enigmatic, visible and hidden, where abstract flows into concrete forms and actions. Blending into a dramaturgical texture, and stage situation, that invites the audience to be a visitor and a guest.
The perception of an intimate microcosm can resonate into us, generating physical or emotional short-circuits. Can create visual analogies, shaped by our consciousness, our recognition and our self-reflection.
