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FEATURED ARTISTS D 7

H: WHAT ABOUT CRITERION OF CONTEMPORARY DANCE? T: IN ESTONIA YOU MIGHT FEEL THAT THERE ARE NO CRITERIONS. EVERYTHING THAT IS NOT OPERA, BALLET OR DRAMA, IS CONTEMPORARY DANCE. IN AMERICA CHOREOGRAPHY IS STRONGLY ASSOCIATED WITH MOVEMENT. PERFORMANCE AS A STYLE IS TOTALLY DIFFERENT THING WHAT IN ESTONIA IS CONTEMPORARY DANCE. AND ALSO IN FINLAND THERE IS MOVEMENT BASED THINKING, MEDIUM IN DANCE PERFORMANCE IS MOVING BODY. R: THIS IS THE CRITERION FOR US AT LEAST. DANCE IS ART OF MOVING, NOT ART OF ACTING,TALKING OR MAKING NOISE. T: TO BE HONEST, ESTONIAN DANCE DOES NOT EXIST, BECAUSE ESTONIAN DANCER IS WORKING LIKE AN AMATEUR. CONTEMPORARY DANCE IS A SECONDARY THING.WE HAVE TWO NATIONAL BALLET THEATERS (VANEMUINE AND ESTONIA) WHICH GET MONEY FROM ESTONIAN GOVERNMENT. R: AND THIS IS TOO MUCH FOR ESTONIA, BECAUSE FOREIGNERS WORK IN THOSE THEATERS.THIS IS A BIG QUESTION. WE DO NOT WANT THAT BALLET THEATERS WOULD VANISH, BUT WE SHOULD IMPROVE OUR OWN ESTONIAN DANCE. OF COURSE WE HAVE TO WORK AT IT, BUT IT IS COMPULSORY TO INVEST IN LOCAL CHOREOGRAPHERS, NOT TO TAKE THE EASY WAY OUT AND BRING THEM FROM OTHER COUNTRIES. THIS HAS ALWAYS BEEN A PRINCIPLE FOR FINE 5, TO IMPROVE OUR OWN THING. H: COULD YOU DEFINE DANCE AS DRAWING IN THE AIR? COULD YOU RECORD MOVEMENTS INTO THE AIR? R: IN DANCE COMPOSITION THERE ARE BLUEPRINTS OF THE FLOOR,YOU CAN SEE DRAWN TRIANGLES OR CIRCLES. BLUEPRINTS DRAWN IN THE AIR ARE A MATERIAL OF DANCE COMPOSITION. BUT IN METAPHORICAL SENSE YOU COULD SAY THAT DANCE IS A MOMENTARY ART WHICH IS DRAWN IN THE AIR. AND WHAT YOU CAN TAKE FROM THE PERFORMANCE AIR IS WHAT YOU UNDERSTAND OF IT. WHAT HAS BEEN INSIDE YOU BEFORE THAT, MAKES IT POSSIBLE TO READ IT. DANCER DESIGNS SPACE WITH MOVEMENTS IN TIME. IF YOU LOOK AT THE AUDIENCE, THEN YOU DRAW A BRIDGE IN THE AIR. YOU COULD DRAW THROUGH YOUR SHOULDER,THROUGH YOUR SKIN OR BACK. H: BUT COULD WE TALK ABOUT BODY ARCHITECTURE? T: WE HAVE BEEN CREATED BY AN ARCHITECT. R: DANCE COMPISITION AS AN ARCHITECTURE. ARCHITECTURE IS NOT MOVING IN SPACE, ALTHOUGH IT IS DYNAMICAL THROUGH ITS FORM. DANCE COMPOSITION IS ARCHITECTURE IN TEMPORAL CONTINUITY. T: ARCHITECTURE DRAWN IN THE AIR. H: WHAT IS THE NEXT THING YOU WANT TO TELL BY MOVING? R: I DO NOT KNOW THAT YET. EVERY TIME IT IS DIFFERENT. IN THE BEGINNING IT IS A BLEARY SUBSTANCE, A DISSATISFACTION, A WISH TO DISCOVER, TO FIND, WHAT I THINK IS HIDDEN. SOMETHING TO EXPERIENCE, TO MEDIATE. H: BUT THERE IS SOMETHING FIZZING IN SUPRARENALS? R: SOME KIND OF A SILENT FIZZING THAT IS PUSHING ME TO ACT,WHICH IS IMPOSSIBLE TO VERBALIZE YET. LIKE PINA BAUSCH SAID: „I DON NOT CARE WHY DANCERS ARE MOVING, BUT WHAT IS MOVING THEM.“ WHAT IS MOVING THEM TO MOVE. OFTEN IN PERFORMANCES IT IS SUBCONCIOUSLY PERCEPTIBLE IF CHOREOGRAPHER HAS BEEN MOVED BY SOMETHING. OTHERWISE IT IS JUST A PLAY OF FORM, THE UNDERWATER AREA OF THE ICEBERG IS EMPTY. THE TIP OF THE ICEBERG CAN BE BEAUTIFULLY DESIGNED. BUT WHAT MOVES ME, IS EMPTY. AND THIS IS WHAT YOU NEED TO FILL IN THE BEGINNING, SO THAT THE TIP OF THE ICEBERG COULD COME INTO BEING.

HEART - FLORA issue  

ISSUE NO.3