What I found very interesting in this piece is the idea of “reading” dance. You need the voice to read written words, but you need the body to read dance. When you read a text, you are bringing back to its original condition what once was uttered or was imagined as uttered by someone in the act of writing. When you “read” a dance, you copy the movements, re-embodying what once was alive and now is recorded and kept in a digital or virtual format. When you read you don’t need to recreate a context, sometimes you don’t need to read everything, you just need to read what is relevant for your understanding and for the understanding of those who are listening. And of course, you read with your own voice, with your accent, with your rhythm and the limitations derived from your knowledge of the language in which that text is written: you might not understand every word / movement, you even might understand just a few words / movements, but perhaps someone is able to understand everything you read in spite of these limitations and distortions. And this opens a field of potentiality and offers a playful approach to memory and documentation of dance. I also like the idea of combining this reading with the project of constructing a piece and following the process of rehearsal, performance and review, which establishes a contingent frame in this immense field of potential readings.

José A. Sánchez

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