Tuesday, August 20, 2013

questionnaire with participant Karine Ponties (Dame de Pic) (FR/BE)

Have you been (when) to Budapest - Hungary with your pieces and artistic works earlier?
Yes, 3 times :
in March 2005 at Mu theatre with the piece BRUTALIS
in January 2011 at Trafo with the piece HUMUS VERTEBRA
in March 2011 at Mu theatre with the piece HOLEULONE

What do you know about Hungary and what kind of informations do you have about our dance life?
I have heard about the Workshop Foundation. The Hungarian dancer Anna Reti have worked with me for the piece LAMALI LOKTA, in 2012.

Could you share with us if have any idols in theater/dance life?
Pina Bausch, Kantor, Romeo Castelluci are important people for me

What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works? Where did you perform it already?
Benedetto Pacifico is a smaller form than the 3 other performances which already toured in Budapest in 2005 and 2011. It is indeed  a simple and short solo  but the starting point of this solo is a part of a global project about the scarecrows, this vertical being, absurd and fluttering in the winds that hold it between earth and sky. I did 4 solos, a piece of group, a film and a illustrated book.

Benedetto’s tour
8 + 9/09/2011 - Benedetto Pacifico Théâtre de la Jeunesse - Hanoï - Viet Nam
2/02/2012 - Benedetto Pacifico ProPulse - Bruxelles - Belgique
19 + 20/06/2012 - Benedetto Pacifico Physical Theatre Festival - Séoul - Corée du Sud
11 14/07/2012 - Benedetto Pacifico CDC - Les Hivernales - Avignon - FranceCDC- Les Hivernales d'Avignon en partenariat avec le Théâtre les Doms , Avignon - - France
31/08/2012 - Benedetto Pacifico Tanzmesse - Dusseldorf - Allemagne
2/02/2013 - Benedetto Pacifico CC Braine l’Alleud - Braine-l'Alleud - Belgique
5 + 6/02/2013 - Benedetto Pacifico Centre Wallonie-Bruxelles (Paris) - Paris - France
15/02/2013 - Benedetto Pacifico Theater aan het Vrijthof - Maastricht - Pays-Bas
12 + 13/08/2013 - Benedetto Pacifico Siguientescena - - Mexique

Do you have your arsittic statement, could you share with us?
In the construction of my dance performances, I try to bring individuals together at frontiers, in places where things happen, developing the stories of details, codes, games and rhythm. My performances explore the world of territory, the ‘between’, the interstices of bodies that rub against each other, of individuals going astray, of loss, of fragile states ... they translate the depths of these states into a distorted language, funny and poetic, by trying to address thoughts, feelings, intuition and the senses. The meaning is never fixed, it cannot be more fragile and it remains fleetingly open to every imagination.
I primarily construct the choreography by sharing and combining the different forms of expression of each individual participating in the project. Through this notation that develops during each piece, I try to express the fragmented life of the body, the enigma of a struggle, and all those little variations that make a being appear extraordinary to us.
The precise elements that make up these danced scores, in the decomposition of every motion, every tremor, every shudder, seem to transform the formal into something grotesque, order into disorder, the partitioning in space of freedom and playfulness. These deformations, twists and exaggerations are a way of painting precision in all its ambiguities.

Do you have any hobby beside working as a performer or creator?
No time.......

Can you write some details about your artistic life - which direction did you come from and which direction do you go right now? Tell us some important steps from your background!
I have the feeling that regardless of its form, writing always comes from the body – hence the need to forge ties by working with individuals, each of whom contains a script. Individual scripts with animal instincts that attempt to translate and thereby re-write existing languages – from sounds, words, gestures, colours; from erupting excesses of the world, from materials… raw materials to be processed. To translate and re-write, not our existence in the world, but the world within, like beings living amongst other living beings. With a certain helplessness, the individual, in the attempt to translate, is fragmented and exposed, for what he or she contains is not linear; instead these are oxygen-stories, without a true linear narrative, without details, without codes and without a logical turn of events. It is a question of searching, therefore, in this corporal contact, for every detail, every possibility inherent in this body that we push to the limit until it reveals a fault, one we can curl up in, where the body divests itself of its boundaries and exasperation. The detail becomes a pretext to explore and to sublimate, while the action transfigures the banality of the gesture in this absurd universe that questions the very finality of the act – its gratuitousness, its grandeur, its perversion and its subversion.
The individual is moved by a nomadic consciousness, not knowing where the adventure begins or ends. Several related solitary battles escalate; again in a physical contact, in an unleashing of opposites, in flights and stamping, coupled sporadically, with run-ups, releases and signals; the horizon, meanwhile, is a vertiginous complexity – and always, the helplessness remains in the act of translating.
This is true helplessness. The great difficulty of translating in the primary sense of the word lies in deciphering so as to understand oneself and with another out of love to share, out of love. Love of man, who is a magnificent being, at times unpredictable, though exhausting mostly to himself, hence the desire to make all of this visible – not by cancelling existing forms but by transforming, transfiguring and transposing them.
Bodies transpierced by the world come apart, appear, disappear, and give themselves up. They withdraw, transform themselves and become deformed; they find, lose and abandon themselves; they stiffen, fill up and empty themselves; they descend, climb, deploy themselves, burst forth, shine, grow pale, fall again and rise up.
We are always juggling the minuscule and the grandiose, fear and habit, sometimes showing the extreme to deal with normality and searching for the essence, with intuition as our guide.
To translate by playing with languages, by searching for an organic rhythm and by attempting to bring down the borders within the self in a bid to explore the universe occupied by the ‘between’. All this without ever setting the meaning and remaining open to each imaginary world, however fleeting and as fragile as can be.
Passionately and with detachment, by stepping back, filled with doubt, always questioning, with increasing forcefulness, the fact of being on stage.
How does one translate the unique revelations of each instant, of art or of persons upon whom we have stumbled? How do we perform this on stage using a body that is already a stage itself? How do we translate this physical relationship, this physical intimacy with the world, with others, with words and with gestures, which, by way of translation, give rise to other ideas?
There is perhaps no better reason to produce art than to explore the world as it is, while distorting it. The possibilities are endless. In all my creations, I conduct the same research, each time from a different angle, developing specific aspects.

I was performing  on stage during 25 years with a lot of different people, since 1996 i am artistic director of dame de pic.
Artistic director of Dame de Pic, choreographer, performer, i have created some thirty dance pieces for the company with among others Mirliflor (Awarded Golden Mask for the best contemporary dance performance in Russia), Holeulone (best dance performance in French-speaking Belgium) and Brutalis (SACD Prize). My work is characterised by a flair for the absurd, exploring intimacy and interlacing relationships.

How did your summer time go? Did you get any new inspirations? Do you have a best experience during this summer?
Brief summer! We toured Benedetto Pacifico and another solo, Fidèle à l’éclair in Mexico, it was a rich experience.

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?
After the creation starts the time of touring in different places, different countries.  It is the most exciting and important thing, meeting and confrontating so many different cultures.

What does it mean to you to be in the process and to show the work to the audience? What kind of feedback are you open for?
It’s always interesting to hear what the audience thinks or feels about the piece. Yes if is constructive.

Do you read critics about your works? What kind of critic do you need?
Yes, critics are important each time that they allows me to learn something about my work, in a good or bad way. 
And i like when the critics surprise me,  because each people has  it’s own universe, it’s own imagination. We don’t have all the same background.

Do you criticize other’s works? Do you write about it?
Yes sometimes but i never write about it

Are you open for a round table discussion with the audience after a premier or after your show?

Here you find some words, could you put them in sentences which could be kind of ars poetic of yours!

Do you have any question?
Not for the moment

Karine's performance takes place on 19th September in Bakelit MAC.

No comments:

Post a Comment