Friday, August 23, 2013

questionnaire with participant Kenneth Flak (NO) and Külli Roosna (EST)


Have you been (when) to Budapest - Hungary with your pieces and artistic works earlier?
No, this is the first time.

What do you know about Hungary and what kind of informations do you have about our dance life?
To be honest, we don’t know very much about it. We do know a few Hungarian dancers from our time in The Netherlands, Peter and Peter. The latest political news we’ve received, though, have been quite disturbing, to say the least...

Could you share with us if have any idols in theater/dance life?
Kenneth: I am a huge fan of Külli.
Külli: Kenneth is my idol.

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?
We are bringing The Wolf Project, which we have performed in The Netherlands, Lithuania and in Estonia. After Hungary we go to Norway with it. In this piece we continue making work that is grounded in a strong physicality, with a clear political and/or personal content. This piece is probably the most explicitly political we have made to date. 

Do you have your arsittic statement, could you share with us?
We don’t believe in any conflict between concept and movement. Certain parts of the conceptual crowd seems to think dance is a bit of a filthy activity, especially if it is set in a theatrical setting. We disagree.

Do you have any hobby beside working as a performer or creator?
Kenneth: Chopping wood in Külli’s grandmother’s place.
Külli: Sauna and movies.

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!
Külli: I came from balllet and Estonian philology into contemporary dance at Tallinn University. After that I went to Codarts in Rotterdam, and worked with several choreographers in the Netherlands. I recently finished my master studies of choreography at Tallinn University. At the moment I am interested in the potential for choreography for saying something about important societal issues. How can a choreographic, embodied idea communicate and open up a world to the audience. Together with Kenneth I am also developing a system of choreography and physical training for performers.
Kenneth: My background was martial arts and acrobatics before studying stage directing at the Norwegian National Academy of Drama. I figured out that this wasn’t for me, so I went to Amsterdam to study mime and later modern dance. I worked with different choreographers in the Netherlands and elsewhere, before starting to make my own choreographies. I like to work with different media, and I’ve made the music for many of my works. Right now I’m programming live, interactive music for an installation/performance in Karlsruhe. I am, though, realizing more and more that my main love is movement, so I am going to dedicate more time to moving and less time to programming. 

How did your summer time go? Did you get any new inspirations? Do you have a best experience during this summer?
We had a great summer with lots of different activities, choreographing for a classical music festival in The Hague, and writing an excessive amount of project descriptions and applications for future projects. The best experience was, though, climbing mountains for 5 days in Norway. And, of course, chopping wood in grandmother’s place!

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?
Yes, in some ways it does. It is interesting to see what people respond to in our pieces. It seems to be different in different places. What is important for people in one country may not be so important in others.

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?
We use audience feedback a lot in the process of making a piece. We are interested in the opinion of everybody who sees our work, but we do make a careful selection of what kind of feedback we actually use. There are some people we trust implicitly, and we place great value on their thoughts.

Do you read critics about your works? What kind of critic do you need?
We do read it, and we are quite critical of the critics. Mostly what we are looking for is an informed view, even if that critic doesn’t necessarily like the piece. The most important is that the writer engages with our work on its own terms, and tries to understand what is important about it.

Do you criticize other’s works? Do you write about it?
No.

Are you open for a round table discussion with the audience after a premier or after your show?
Yes, we often do this, and find it very rewarding.

Here you find some words, could you put them in sentences which could be kind of ars poetic of yours!
COMMUNITY, GETTING CLOSER, EXCHANGE, FILLED IN, RELIGION, NATION, HOMAGE, HUG, PERFORM, POPULAR, ORGANIC FOOD, SENSE, QUALITY, SHARE, FACE
Community is an organic network
Getting closer means sometimes to move away
Exchange of experiences is more important than convincing someone that you are right
Antony Gormley: “My work is not religious. It does, however, come from the same need that religion fulfills.”
A nation is a work in progress
Homage to nature
Give us a hug!
Perform without regret
Popular smells a bit weird
Organic food is in grandmother’s garden—next to the wood.
Sense fully
Quality is something very personal
Sharing may not be caring
A face is the only thing you can’t find on Facebook

Do you have any question?
Why? When? How?

Kenneth-Küli's performance takes place on 21st September in Jurányi Inkubátorház.

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