My movement research is based on structured improvisation, instant composition and the correlation between sensation and physicality. Movement is not fixed but defined in each moment. The dancers decide about the creation of movement as well as its composition in space and time. Acting between polar priorities of intuition and composition, the individual is being revealed through his/her decision-making. This demands an alert state of presence and play, which becomes visible on stage and serves as a basis for my work.
In the correlation between sensation and physicality I am looking for a state of ‚not-knowing’. Over-stimulation of the senses often results in physical de-sensitising and the repetition of habitual movement patterns. In my work, movement is created as a direct response to sensory experience and thus informed by individual sensibilities. How can we truly meet and react in the moment? What boundaries, both personal and social, are necessary to fall? We search for the most personal in order to point towards what is shared. I like to define the studio and stage as a place of practice to re-think ourselves.
Risk-taking, curiosity and playfulness define a highly physical, raw and intimate movement vocabulary that is always negotiated in direct relation to the audience. Staged in the theatre or gallery, site specific or on stage, I like to explore different venues for dance and create access and diversity on and off the stage.
Current research interest
In collaboration with sound artists I explore the relation between the moving body, its live sound and the audience. Working with shotgun microphones, we aim to create highly intimate sound spaces both for the performers and the public, exposing the dancers and their bodies both visually and audibly.
My current interest lies in examining the body and dance within the gallery space, looking at the potential and specificities of working within a visual arts context. I like to open up dialogues about the perception of the body as an object or subject within different temporalities and research exposure, risk-taking and boundaries of intimacy and physicality in close proximity to an audience.
© Aleks Slota, 2018