Direction, choreography and set-design: Francesco Scavetta In collaboration with dancers: Bernat Macia Perez, Cristina Valdivielso Garcia, Jun Wang, Yun Liu, Efthymia Chatzakou, Elise Ludinard Choreography assistant: Luke Divall Movement assistance: Gry Kipperberg, Riina Kalmi Rehearsal director Maja Poturovic Original music: Erikk McKenzie, Clelia Patrono
Costumes: Gjøril Bjercke Sæther Light design and technical direction: Stefano Stacchini Stage set: Anders Hamre Production: Vitlycke-Centre for Performing Arts, blackmountain (AT)
With the support of: Austrian Embassy in Stockholm Vitlycke – Centre for Performing Arts is supported by: Västra Götalandsregionen/Kulturstrategiskt utvecklingsstöd, Tanums Kommun/ Kultur och fritd.
«All I know of which I am not thinking» is inspired by the perfroamce «Hardly Ever», created in collaboration with: Gry Kipperberg, Erikk McKenzie, Orfee Schuijt, Thomas Vantuycom.
The performance of “All I know of which I am not thinking” by the Bodhi Project.
Time: 8th of February, 19.00
Entrance: 100kr (book your ticket here: email@example.com)
Supported by Austrian Embassy in Stockholm.
Vitlycke – Centre for Performing Arts is supported by: Västra Götalandsregionen KSU and Tanum Kultur & Fritid.
The Bodhi Project is an Austrian company composed by Six performers of five different nationalities. They came to Vitlycke – Centre for Performing Arts to work with choreographer Francesco Scavetta to create a new performance titled “All I know of which I am not thinking”.
With costumes and set design straight out of the 70s, partly kitsch tiki lounge, partly Wes Anderson film set, “All I know of which I am not thinking” takes us to places comforting and strange. The work is bizarre yet familiar: offbeat, funny and poetic. The piece explores, in a peculiar blend of politics, poetics and humour, the notion of truth and falsehood in theatre and everyday experience, bringing forward an investigation started with the performance “Hardly Ever”.
The project identifies the theme of lying as iconic and relevant on both a socio-political and personal level and the interweaving of semantics and performativity is central in the work.
The performers on stage continuously manipulate their fictional worlds and creations addressing the audience with verbal statements that are both personal and surreal. By naming and renaming their actions and the physical landscapes they create, the dancers aim in engaging audience personal associations, while challenging their perceptions.
It’s all about believing and making believe, even just for a few instants. It’s an inner guessing game. It’s about creating expectations and triggering empathy, while allowing the unexpected. The result is subtly political, joyful and timely.