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Trio: A Self-Interview is a performance that takes the form of a self-interview of the collective, which acts as a mode for questioning, understanding and performing our collaboration. The text is based on several self-interviews that took place during our creative process and served as methodological tools for our performances. The performance derives from texts developed in June 2009 and in April 2012, therefore making explicit a gap in both our personal and collective memory, as well as interrogating our collaborative process through past, present and future times.
We will discuss issues arising from our collaboration including the relationship between talking and doing, different modes of communication, misunderstandings and failures, responsibility and decision-making. The members of the collective are both interviewers and interviewees –exchanging roles and seeking identities. Questioning issues of authorship and non-hierarchical working structures, we are trying to define and organise the fluid boundaries that exist within our modes of production.
Seeking alternative ways to work together (not always being able to be at the same place at the same time), we have formed a virtual rehearsal space that acts as a platform for collaborative performance practice. The resulting blog is a curious archive. It flattens the perception of time as a linear development and presents it as fragmented and incomplete. It gives the illusion of Trio as a coherent entity (we are all on here together), but has yet to overcome its differences and inconsistencies.
Conference Presentations:
4 May 2012: Symposium ON COLLABORATION at Middlesex University, London
http://mdxoncollaboration.blogspot.co.uk/
15 May 2012: CADRE Research Student Conference 2012 ON PERFORMATIVITY at the University of Wolverhampton
http://phdconference.wordpress.com/
30 July 2012: In Dialogue Symposium at Nottingham Contemporary – with a special performance by Michelle Lynch on Skype
re-re-twothousandth-re incorporates dance, installation, text and video. Three performers move in front of four laptops where several performances made in 2003 are reproduced. Instead of learning the choreographies the dancers resist rehearsal choosing to copy the movement from the videos.
Building upon pre-existing choreographies and a range of styles, this piece offers an unsettling, funny, playful and challenging landscape of movement, reflecting a response to different contexts of space, time and bodies and the memory they evoke.
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
Take a journey back in time Trio Collective and re-visit the choreographies of the year 2003. It might seem not so long ago for some of us, just 7 years, so why 2003? Perhaps because they call themselves Trio Collective, hence ’03, who knows. As I’m about to witness it does not really matter. The work on the other hand does.
The performers are already on stage once the audience takes its seats. There is a long exchange of looks between the three and their technician before the show begins. 3 performers, a desk, 3 chairs and 4 laptops; what is going to happen? Finally one performer takes the lead and counts 1-2-3. The show is on.
Try and think back for a moment; what dances do you remember from the year 2003?
Personally I remember two: One was a Japanese performance, “Alice” by Mako Kawano, I myself by chance danced in. The second one “Finks by Leni-Basso, also a Japanese dance performance, intrigued me so much I decided on dance and choreography as my way in life.
It is 7 years ago now. It seems like yesterday and so long ago.
I’m not going to tell you what happens in Trio Collective’s piece. I don’t really want to write a review. What I can say is that what is evident watching the piece is that 2003 was 7 years ago, and the performers clearly show us the difference between today and something that was not so long ago.
The piece is conceptual, but the girls manage to go beyond concept and actually do something with it. It is not a mere demonstration, nor an academic exercise or pure entertainment. It is almost all of those things, but entirely its own.
This was a great first show and I’m looking forward to follow the evolution of “Re-re-twothousandandth-re”.
Runa Kaiser
Trio Collective Re-re-twothousandth-re
Three laptops sat on chairs, three stripy tops atop human legs. Thus began Trio Collective’s thought-provoking deconstruction of the choreographic process which, inevitably, involved more questions than answers.
The three performers, responding to oddball instructions from one of the company (how do you dance as if you’ve encountered a Brazilian crocodile?), played a curious game of dance karaoke as they mimicked images only they could see on their individual computer screens. It made for an intriguing spectacle that never quite broke out of its self-imposed confines: if the questions had translated into more entertaining actions, then it would have worked as a piece of entertainment as well as an academic exercise.
Keith Watson
Though varying dramatically in theme and tone Tuesday night’s performances all explored dance as a means to forming an identity.
The evening opened with Trio Collective’s re-re-twothousandth-re, an ambitious work about three girls who use their laptops as magic mirrors and emulate choreographic ideals from 2003, never once tearing their eyes away from the screen. Philosophical musings voiced at the side of the stage remained largely unintegrated into the movement and therefore sat oddly with it, apart from a single request to create a piece inspired by Andy Warhol (the lurid colour scheme and pastiche-like disco and lyrical moves certainly conveyed the Pop artist’s aesthetic). The lighting was also evocative, especially when the theatre darkened and the dancers’ faces were illuminated by their laptops, rendering them inhabitants of their own glossy worlds.
Katerina Pantelides
Trio will be performing a new work, re-re-twothousandth-ree, in London in January, 2011. More details to come, but for now. Flashback.
Two. Thousand. Three.
Trio 