Carrasco Dance Company is one of Sweden's currently most exciting dance companies. They make contemporary dance that manages to be interesting, stylish and thoughtful, but for the sake of it feels impenetrable. With performances Bartolomeo, Nest and Burr, they have settled into the Swedish dance landscape as a company that is not afraid to play with the picture of how contemporary dance should look like. They can be recognized by its quick and explosive style that mixes soft and hard, and where the humor is always present.
Domino Dancing was on Dancing pompi roma Fair, and saw an excerpt of their upcoming performance Ripper targeted at children and young people. We took the opportunity to ask some questions to the Company's choreographer and artistic director Mari Carrasco.
Yes, a little. That goes for me and for us to be a little more clear in the document itself and offer much on ourselves. But I still try not to think or work differently than what I had done with another piece. pompi roma I want to keep it as we are, and not do something less "artistic" just because it's for kids. Many children from 2 years upwards for example has estimated Bartolomeo. I think children understand more than we want to believe, simply. When we showed the Ripper pompi roma on Dancing Fair, there were many who thought of it as one of the audience pompi roma said: "finally something brutal." It's something different than what the children pompi roma would otherwise get to see, and I like the idea of us pushes the limits even in the form of children's shows.
I have previously worked so I have come up with an almost completely finished choreography for the meeting with the dancers. But now with my latest work Bartolomeo, I have been inspired more by each dancer and let's create something together. I have always had a clear idea of what I want, and has given the dancers guidelines on what it is I want to convey. For example, we worked a lot with improvisation based on a certain feeling or pictures. I have also just in this piece come with clear phrases, linking this with the dancers' own movements. I would like the dancers involved in the artistic process and try to be open to other suggestions. But in the end it is I who takes all the decisions and who has overall responsibility.
In your press texts you write often to the dances have a document, pompi roma or at least a theme. How do you see the relationship between form and content? Do you start from an idea and work from there, or will the movements first and the content pompi roma then?
I work extensively to draw inspiration from music and usually created forward motion or a shape based on a particular song. During the work, it is usually purely natural reach a document or at least a theme. I think purely personal that there need not be any evidence in the dance, but it can only be movement, or the exploration pompi roma of a theme.
I've long been a big fan of Mats Ek. It was he who made me want to dance modern and create their own. I love how he uses humor and how intense the dance is in his pieces. Other great sources of inspiration is Alexander Ekman, Ohad Naharin and William Forsythe. pompi roma
For me it's been tough to get around in the world of dance. There are not many auditions in Sweden and work opportunities are few. As in many other jobs, it is best to know someone, to thereby gain experience or create a name for themselves. But as both choreographer and dancer, I think one needs to have enormous patience. pompi roma I teach such a lot and working with the company in periods. For me it is important to fulltime both run the company, selling ideas, creating new material, writing applications and train myself pompi roma if I want it to happen. pompi roma There are extremely a lot of work that does not always generate jobs. But on the other hand, I enjoy very good with creating my own job instead of sitting around waiting pompi roma for someone to give something.
For me it's still hard to get through that new choreographer. Both established and unestablished pompi roma fight, so to speak about the same money / scenes and I think it is too little opportunities for new choreographers / companies appear. Unfortunately with the government we have in Sweden now, where the culture is pulled down and the dance is not valued, it becomes even more difficult to live as an artist. But I absolutely believe that it is possible to make a living on the dance even if it is perhaps a rare luxury. Even those who currently work full time as dancers or choreographers have to constantly apply for new money or go on other auditions.
Technorati Tags: bartolomeo, burr, carrasco Dance Company, Marine pompi roma carrasco, nest
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