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of the performance. “Music should not be used as decoration”, Bory continues. “It should be a partner, an equal partner in a stage dialogue”. The audience as partner and limitation One of the pillars of stage action – and a source of limitation, too – is the audience, particularly the eyes of the audience. In a sense, if there is no audience, there is no performing art. We have the dancers on one side of the stage, and the viewers on the other. This constitutes a relationship as well as a limitation. What happens between these two sides is what gives meaning to art. And the meaning doesn’t have to be the same to each side – hence Bory’s insistence on not having a message in his shows: “If something is worthwhile for me, it might be worthwhile for someone else, but the meaning is always different”.

The outcome After days of experimentation, the workshop culminated in a public presentation at the @lma @lter theater space. It was a pleasure to observe how in a matter of days this group of strong individuals with diverse dance backgrounds had turned into a smoothly running troupe. Despite the workshop’s focus on a few very basic movements, the presentation was proof that there is a whole new generation of talented young people in Bulgaria who dream of being able to work on their art in their country. And their week spent with Aurélien Bory took them one step closer to that dream.


One Magazine ­ Summer 2010  

One Magazine is an independent Bulgarian quarterly publication