Alina Arshi, Choreografin aus Lausanne, widmet sich zum Abschluss ihrer dreimonatigen Residenz folgenden Fragen: Wie lässt sich ein Tanzstück allein aus der Auseinandersetzung mit Theorie entwickeln? Wo genau entsteht im Durcheinander der Übersetzungsprozesse auf der Bühne das erste Bild? Wie können wir künstlerische Intuition besser verstehen? Können wir sie, wie ein störrisches Möbelstück aus der Ecke, in die Bühnenmitte schieben? Wrong answers only :)

Alina schreibt über ihre Herangehensweise:

«Since the beginning and by the end of 2025 I will have kneaded, ruptured and put back together again and again the phenomena, concepts and words, in ascending order of obscurity, that are: double bind, metaphor, and sex. What they mean, what people think they mean, what they mean to me, what they mean to each other. Mainly I have read, read, and read, anything that gave off the remotest of their scent - just the title could suffice. The two most important participants in this domain would be Bateson’s Steps to an Ecology of Mind, and Zupančič's What IS sex? 

That said, I am a dancer, not in my speed-of-light pirouettes but in the logic of my understanding of and participation with the world around me. So I think with the body, that is, with a logic that is the very essence to the format of our head-shoulders-knees-and-toes beings. AKA, Why is it hard to cook? I’ve only broken a toe. Or, think about what it means to “understand in the stomach”. 

So, I start with theory and end with dance pieces. In the 3 months in Kaserne I have attempted to both, look at these two elements separately in all their fervour and scope, but also tried to labour the zone of their merging out of the blind spot of intuition. 

What you will see is (1) a performance (3) and how (2) its building blocks built it.». 

Das Showing ist Teil von Cliffhanger #2.

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