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Riccardo Buscarini and Lola Maury and cast talk about their pieces presented in a double bill at The Place on Wed 22 Apr.

Click here for more info and to book tickets


Riccardo Buscarini on 10 tracks to the end of the world

The performance at The Place will be the UK premiere of 10 tracks for the end of the world, a solo  that I consider the twin-piece to my Place Prize winning work Athletes. Both were made in the same year and have a similar apocalyptic quality, manifested in a very different way. Athletes is controlled and with a very specific descending ark, 10 tracks and a tiny bit furious.

10 tracks for the end of the world was supposed to be a one-off performance. I made this piece to celebrate my first 10 years of dancing. It was premiered in December 2012, around 10 days before the ‘end-of-the-world’ date according to the Mayan prophecy. Since then I have been asked to perform it more and more… It is hard, but I guess it works!

It is a harsh piece: for almost an hour I dance on 10 kilos of salt. I expose myself to a very challenging state. The salt makes my skin and my eyes burn. I still have scars from 2 years ago on my hands and feet. Depending on the evening, the outcome can be quite graphic.

At this point you will be wondering: why do you do that to yourself??? hahah

The piece for me is both a physical and mental challenge. Something I have to go through. I consider it a sort of cleansing ritual, a way to put an end to the past and to a piece of me.

The salt is very symbolic of that. I draw “1O” at the beginning, which stands for the number “ten” but also for “|O”, which in Italian means “I”. The piece is all about cancelling that word through movement and spreading, reshaping the salt… in the same way the Romans used to do when they were destroying a rival city: throwing salt on soil makes it barren.

And then of course there is the music… and its baggage of meanings and memories…

As you see, I have a lot to talk about this piece. But I’d rather let the tracks and the movement speak. See you at the show. Perhaps we could have a chat just afterwards?

Click here to listen to Riccardo’s 10 tracks for the end of the world

Lola Maury and dancer James Morgan on Two to Tune

It all started with a fascination for atoms and planets orbiting. I became obsessed with the idea that they were buzzing around each other, constantly revolving closer and then further apart. One tracks the other, never losing connectivity and so avoiding a crash.

This idea of being bound to another entity became a way for me to look for patterns and similar imagery for the piece. For example, I found fascination in competitive sport players – observing absolute concentration propelling their every instinctive movement. Slowly, rather than the theme of competition, my interests fell on the play between two people.

Funnily, last week, as I was finding myself stuck in the process I looked back at videos and things that I worked on years ago. I found this recording of a duet that Myrto Gkouzelou and myself spent weeks creating and re-creating called Waltz nb 2. Two bodies waving together, manipulating each other. I had forgotten about this never publicly presented duet and I just understood that for so many years I had been actually researching the same thing over and over.

I think Two to tune is therefore unconsciously typical of my longterm growing artistic interests, where I try to find a moment of complete raw, primal and channelled perfection between people. 

Statement from dancer, James Morgan during rehearsals:

“Having spent three weeks working with Laureline I am starting to understand her as a dancer and as a person; there is always more to know.  Currently I phase in and out of unity with her, occasionally negotiating a sort of joint consciousness, but often getting so wrapped up in the complex tasks of the piece that I forget she exists entirely. The work is built up from layers of competing images and games which are always engaging and interesting because of their illogical nature.  Within this challenge I have to fight with my concentration.  This shared struggle often brings me closer to Laureline, but it can also mean I have no space left for her.  When it does work, we dance between camaraderie and competition, daring each other to take one step closer.  It is a very satisfying piece to dance. » 




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