Choreographer: Karina Suárez Bosche
Dancers: Karina Suárez Bosche, Andrea Krohn (casting A)
Annapaola Leso, Carolina Bavio (casting B)
Set design: Cheng-Ting Chen
Light design: Catalina Fernández
Costume design: Francisca Villela
Original Composition: Alberto Cerro
Video Link Casting A
Video Link Casting B
World of silent, displaced nature. Artificial aesthetic and order. If life has an original essence, how to return to it? The art work in/the/back/no/words/hearing is a dance/installation piece made for contemplative states. It questions the possibility of radical honesty in humans, the search of their own nature against a system and society that imposes them how to be, react and move; and looks at human’s needs and through this, attitudes.The exhibition of real natural elements on stage represents nature’s way of imposing itself on our human-constructed world.
Two women coexisting in a world of still, unvoiced, transplanted nature. In this fictional story, each of these characters has been isolated in this world for many years, without the need of talking. They have lost their language. They eventually find each other, and in an attempt to communicate through their body, sounds and eye contact, they approach themselves. Which body do we have when the possibilities to communicate as we know begin to lose their purpose?
What would the Human body be like if it had lost its purpose as a tool to communicate? Real plants, framed by wooden cubes, are placed as an installation on the stage. A real tree with visible roots expresses the extraction of the characters‘ own nature: a discord between what they are forced to be and what they actually are.
In/the/back/no/words/hearing was premiered in Berlin at Uferstudios and presented at the BAT Studio Theater as well as during the 100 Grad Festival in 2014 in Sophiensaele. It toured in Mexico between February and March 2017 and will have further presentations in Europe.
The score, an original composition, engages the spectator through a zoom in and zoom out of the fading sounds of birds, which at a first impression would make the audience doubt whether this noise is coming from the outside, whereas its increasing volume shows its artificiality. With strong aesthetic images, the zoom also works in the gaze of the viewers, where a language of arm gestures between the performers, and long silence moments, constructed with just images and light, makes them to go in and out with their perception as in a movie.
This zoom in and out effect also reflects the viewer’s’ gaze as they observe contrasting images in the piece: a language of arm gestures between the performers, accompanied by silent moments. Shaped by such images and light design, the piece makes the audience go in and out of their own perceptions as in a movie.