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INTERVIEW WITH ELISABETE FINGER
On the 17h december Elisabete Finger, Brazilian choreographer, is presenting her new group piece “BURACO” in PACT ZOLLVEREIN /Essen, a piece designed for children. In our meeting, Elisabete Finger was the first to speak about her general interests at the moment:
ELISABETE: Every time one decides to put a body on stage, it will bring unexpected relationships and organic meanings, one will put on stage every hole of this body, digestion, things that will get in or out. I think it is very difficult to take the body out of this context. But at the same time, I ask myself: how to add to this body artificiality, both in movement and relationships? Hot to produce the feeling of CUT between movements, I mean, to bring the language of cinema to the movement, to allow oneself to pass from one thing to another only through cuts and editing? This is the reason why I am at the present, very interested in 3 things: gardening, video editing and sewing! (laughs). What is common about these three practices and is precisely the CUT.
Our first question was about BURACO: what made her design BURACO for children ? She answered promptly:
ELISABETE: Children have their perception totally open at the same time they look at things in a very practical way. For instance, the daughter of a friend who was working with me, came to see my previous work "O.", where I am naked, I pea, etc. But the only thing she was interested was the circulation of materials. She would ask where did the egg go, where did this and that come from...this was much more important than creating certain metaphors. In the case of BURACO, when children come to see the performance they get thrilled, they scream! But also they have a very concrete relationship with the piece. This is why my decision in BURACO was to do something for children, I wanted to have an audience that could be open and available to react. Because since my previous works, I have the feeling that no one will be there to dialogue with. Our stage is dark, the audience is far, everyone gets out in the end of the piece, and one day someone writes a review, that’s all.Children are much more "raw" and immediate, they get of the room during the performance, they go back, they talk, they are really there.
We remembered the text of presentation of the work where one could read: “In BURACO everything is for crossing, for exiting or entering, for going inside, for falling, for remaining, for disappearing”.The text and the piece made us think of contemporaneity, the disappearance of limits between outside and inside, our relationship with the realm of image, social networks, the disappearance of interiority. We asked Elisabete if she could see a link between BURACO and these questions, even if her work is not symbolic.
ELISABETE: I don’t like to propose a metaphor in my works, I prefer to propose literality. In the piece BURACO, inside and outside are literal spaces: “inside” the mouth, to stick the hand “inside” the mouth, to get “inside” a green cube, to get “inside” fur. I propose to dancers an adventure between different “insides” and “outsides” and we offer to the spectator the freedom to create his or her interpretation. Off course, often I think it is my obligation to propose something more directly connected with the present world, to do a more “activist” work, etc. But In the present I am trying to work with sensibility, to open up perception and sensibility. I try to promote a different point of view, a space to think in the present from other perspectives, and I would love to believe that is important for itself.
Tell us more about the work, what is the core of BURACO
ELISABETE: BURACO is a relationship between bodies as matter. We try to create concrete relationships between skin, fabric, plastic. And we try to promote connections that can free us from our habits and certitudes, to “un-know” what is beautiful and ugly, what we can or cannot do with things. BURACO is also a portal for another place, another world, even if this space can be right next to us on stage.
During our process of creation, we have worked with warming up exercises connected with our questions. I asked everyone to create a series of 30 minutes, to open the body, to agitate the liquids in body, to warm up the bones, etc. Each performer created a series and then we mixed all exercises in one common score that we would practice everyday. The process generated the score of the piece, unexpectedly because it was only the “warming up”
What is the relationship between your work with choreography and visual arts?
ELISABETE: I see myself thinking with images, pictures, forms, position of things in space. The is a strong bind with image, but imagery is already in movement, it comes from a place and it goes to another place. But sometimes I fell this system can be a trap to me, specially If I start from there, because it will much more difficult to put the body inside this image afterwards. The body becomes accessory, almost unnecessary, or a task-like body. And I prefer to consider the body the agent, the place where things can happen, that is why in BURACO I really enjoyed that we start with the practice of the warming up exercises since the beginning.