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At the time of the World Cup final, we choose the dance
It is Sunday, July 15 around seven o'clock. Although it has enough heat and the final of the World Cup, many people are gathered in the square and approaching the stage. Sounds of the speakers. A registered female voice announces, as in all performances of the Dance Festival, the title and the dancer We are preparing to see it Peter Yasko and his performance 18 Peter Jasko, 18 | Sunday, July 15 – Central Square of Kalamata © Mike Rafail
Alone, dressed in everyday life, seeks on stage "the depth of the movement to listen to every moment". Through the exploration of micromanagement, he seems to have become aware of a strong body. The sense of this intense presence is accentuated by his original music Tomas Furey . Based on electronic sounds with stubborn motives and breathtaking enthusiasm, it creates the environment that really suits us in what's happening on stage. A 19659011] The day after the festival, on the stage of the square we see the duo Glitches [19659003] L L L L . Based on their relationship and their space, they compose a humorous show based on the potential of "different forms of physical narrative". The stories narrate dressed in opposite colors, arise from the dialogue, but also from his voices, between these two different bodies and the music of Forest Emanuel [19659004] Dunn and Millie & Andrea The biggest, perhaps, gift of these outward actions is the distance we have with the dancers. As we surround the scene, we are allowed the luxury of closeness with these magical dancing bodies two men dressed in similar gray clothing, one with shoes each other without, playing with each other, with music, with light, with space and with various circus objects. They are presented as two different "characters". They will fascinate us with their bodies, three balls to juggle, two balls of balance, an acrobatic circle, a lighting of office and a piano with a tail There, it will emerge with emphasis Late on Lea Petra . She will accompany the whole show with her own original music . Like the one who creates an atmosphere and comments on the action in silent movies. Playing really beautiful piano. It seems easy. Like the two acrobats and friends, Alessandro Maida and Pythoud who make up the group Co. Circoncentric . They connect an acrobatic find to the other, creating scenes that alternate at an extraordinary pace. They fly one on the other and turn together, as if they were a body with a pleasant naturalness. They balance on the balls, keep the circle in the orbit, land on their hands and walk synchronized so returned, as if it was the simplest thing in the world The choreography breathes them, exactly as the title suggests: Breathe. At the same time, she is cheerful, energetic and tender Their bodies are resolutely organized, powerful and at the same time flexible, soft and fluid. They seem to hover, having no weight, and with them we flood and we breathe. And we laugh, and we feel dance even though we sit A show for everything that drives us. It looks like a planet whispering to the end a kid next to me and I think: a planet where people breathe, play and fly We enter the Great Hall of the Kalamata Dance Hall, about 200 people, and ask us to leave all our belongings in the theater and go on stage We look around the few objects around us We do not have this opportunity so often I wonder if it will be uncomfortable if we are asked to "do something" if the performance depends on what we are going to do and whether we have to go to overcome maybe a contraction Suddenly, a big boy starts talking. The path reminds him of a fairy tale. It tells a story about nothing the nothingness that is around us . Then the four other co-creators follow one another, as he writes in the program. We are advised by dance and speech. Then they approach us and they say, "You remind me of my mother," they tell us, and they ask us, "Do you want to be friends?" They suggest we only do 39; a. I am this first big boy by chance. I would like to follow them all, but that is not the case. We are sitting on the floor. The story continues: "All I have said is a lie," he tells us. I already feel comfortable. We are on stage to live a ready-to-play show and not do with the dancers. I am impatient. Throughout the project, we move in space, create circles and shapes. Among us, the five artists move furniture / lights, tell stories, run, jump, dance. At a certain point, they are synchronized with a recognizable dynamic choreography 
breathe / breathe and dive into the magic of circus
When you're allowed to be a piece in a fairy tale
or
is a lie and you like it "
A great moment when Hugh Steiner rode and made a public cinematographic speech against […]. We prepare to act against the war. And we followed his incentives with enthusiasm.
Like this intense body – so close to us – with the stage itself, the lighting, the discourse and the music, the reality merges with the theatrical myth. And if there are symbols in this fairy tale, they are free of simple references and conventional tales. We do not have to decode what we see. It is done to create an atmosphere that will flow in and train us.
She writes in the program: "That everything relates to you", "it can be a journey on the dark side" it can be a labyrinth of mirrors, "everything can lie and you like it", " you may have to come alone ". (19459009) [19459109] Figure Released ]
I have in mind two slogans from May 68: " The imagination in power "and" the present and the future is which is recommended to the public with the possibilities and additions now ". And I think that, perhaps, Go yourself invites us to admit the game, its meaning here and now and l 39; ;imagination; Replace the gaze in the future, the clock and the mobile, choosing the alternative of the present, the non-time – which is the treatise of representation – and the body. Let's exchange, even briefly, the explanations and the experience. The reality with the illusion
Central Photo of the article: Ultima Vez – Go Figure Out Yourself. © Danny Willems
The 19th Kalamata International Dance Festival began dynamically
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