About ‘Love Letter to the Enemy’
If "faith is dancing on the edge of the abyss"*, ‘Cena 11’ dances on its edge when proposing that another dance is possible. A dance that is found in the emergence of things, in the interdependence of opposites, and in the recognition of the other as a mirror of oneself.
Availability is the weapon of a war waged by the will of discovery, by the need of recognition of what is in us and that we can only see it allowing another to invade us, and becoming his accomplice. Availability as power. Availability as a way to find fulfillment in the storm.
‘Cena 11’ looks into the abyss with the conviction of its weaknesses and fallibility, with the conviction that it is subject to collapse, which emerges when donating oneself to the other in the struggle for a space that depends on many. It needs others.
What does it mean being together?
‘Love Letter to the Enemy’
Mobility, vectors, generative interdependence, availability, opposition, incompleteness, movement as a way to reveal identities and transformation, beauty as a transient result of adaptability, trace, strength, nature and threat, entropy and failure, collapse, certainty in mystery.
‘Cena 11’ recognizes that ‘Love Letter to the Enemy’ is a territory for action and not an attempt at representing such title. Thus, all the information that generates and delineates this territory is both cause and effect of itself.
The move, its revelations and potentials are the maze-like course of ‘Love Letter to the Enemy’.
In the revealing and unveiling course of the performance, ‘Cena 11’ weaves the body of its new production introducing the clash of opposites to understand unit. It introduces opposition as a condition of availability and change, in which collapsing is the evidence of the negotiating limits that the performers’ bodies undergo, and not as a goal. The move proposed here is one engendered in collective conditions (among the dancers, among choreographic devices, between the muscle/emotional vectors that move the body, between the floor and the light, between the act of performing and the act of watching the performance, between sound and environment ) that allow, suggest, and are complicit in its existence.
Two becoming another one. Becoming many to escape in the rupture that, as a trace, unveils new encounters and accepts failures.
The performers move to recognize a maze that suggests muscular/emotional paths, in which the relationship between form and the aim of naming each body is a collective act.
The details produced by the actions in each body work as a contamination through vectorial empathy, a way to correlate actions that involve the availability of adding familiarity and difference, finding possibilities, inevitabilities, and inefficiencies. Adapting is our potential of beauty, a remote determination of our credit to the unexpected.
Four years after researching for the production of ‘SIM’ – ‘integrated actions of consent to occupation and resistance’, ‘Cena 11’ concludes the production of ‘Love Letter to the Enemy’ on the eve of completing 20 years of existence. Their path emphasizes, with this new work, the establishment of a creative method that has formulated pedagogical/compositional strategies placing ‘Cena 11’ as a dance ensemble that draws upon multidisciplinary knowledge.
The production of ‘SIM’ – ‘integrated actions of consent to occupation and resistance’ inaugurated a Research Project Group that changed the course of dance to be produced by the company. This new work benefits from these changes and gives voice to this new phase: What we seek now is no longer a choreography but a choreographic situation**.
Built on transient stability established by the knowledge generated in each of its ten previous works, the definition of body proposed by Cena 11 extends the access to and sharing of research results, making it possible to build a growing network of information and knowledge exchange. With ‘Love Letter to the Enemy’ Cena 11 believes that autonomy is only possible with the available complicity of another.
Text: Alejandro Ahmed, Mariana Romagnani.
**quote: "choreographic situation" by Fabiana Dultra Britto
Artistic direction and choreography: Alejandro Ahmed
Performers and choreography: Adilso Machado, Aline Blasius, Anderson do Carmo, Claudia Shimura, Jussara Belchior, Karin Serafin, Marcos Klann, Mariana Romagnani
Artistic creation assistant: Mariana Romagnani
Rehearsal assistant: Malu Rabelo
Lighting and ambient music: Hedra Rockenbach
Costume design: Felipe Caprestano and Karin Serafin
Video: Alejandro Ahmed
Graphic Art: Tiago Franco
Photos: Cristiano Prim
Images: Cristiano Prim and Mariana Romagnani
Sound, light and projection operation: Alejandro Ahmed and Hedra Rockenbach
Setup Coordination: Hedra Rockenbach
Press Relations: Luciana de Moraes
Theoretical-practical research for the ‘SIM’ project (2010): Fabiana Dultra Britto
Hair: Robson Vieira
Headquarters and technical preparation: Jurerê Sports Center
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