A creation for 17 dancers performed on a 34 degrees platform. In Skid, human beings relationship to the law of gravity, to the poetry of resistance and abandonment from gravity itself, sets the dancers in motion.
Our very existence itself is about simultaneous dualities, between a desire to rise and a fear of falling. We fall asleep, we fall in love, contractions pull us out of the maternal cocoon to confront the hard laws of a terrestrial invisible force.
In Skid, human beings relationship to the law of gravity, to the poetry of resistance and abandonment from gravity itself, sets the dancers in motion. Flowing between verticality and horizontality, Skid is performed on 34 degree angled platform which dives directly in to the orchestra pit. The set is itself inspired by the measurement of earth’s gravitatonal acceleration measurement of 9.8 meters per second. With only 2 entrances to the angled space: above and below, the dancers are drawing physical story lines between appearance and disappearance.
Every movement of this choreographic exploration is created from the limits and new possibilities the slope offers. At times epic, dangerous, humorous or moving, Skid creates a new landscape of physical possibilities , creating a chain reaction of physical and emotional events. The human body becomes the crossroads between will, resistance, collapse and resilience – where the physical relationship to others is often times the only comfort against the call of the void.
The slope in Skid was been created by New York artist Jim Hodges and Carlos Marques da Cruz, while the playful and multi-functional costumes have been created by fashion designer Jean-Paul Lespagnard. Austrian composer Christian Fennesz provides the emotional electro-acoustic music, and lights by Joakim Brink further blurs the audience’s perception of verticality by multiplying the number of the dancers with stark elongated shadows.