Choreography and performance: Ana Kreitmeyer
Light design: Igor Pauška
Set design: Igor Pauška
Music: Adam Semijalac
Costume: Silvio Vujičić
In collaboration with: Sandra Banić Naumovski
I move because my muscles move. Not driven by my will but by an impulse of the muscles themselves I have two arms and two legs. The head is still too heavy and good only for unconscious facial grimace. I move my head. I attempt to lift it from the floor and keep it level. My stretched hands reach for my feet and draw them towards my head. I sink to my side. I voice a sound. I repeat the movements until I manage to sit. Hands are no longer functionless and I observe them, reach with them, knock things down, move or hold things. Then throw things. Everything after that is easier. I shift to hands and knees, abandon my “guardian”. The body knows where and whereabouts it wants to go. Then I stand. Fall. Stand on my two feet. Fall. Stand on my two feet. Fall.
‘Towards the Beginning’ is a performance whose choreographic research can be summed up with the question what is the quality of an infant’s body and how is such a body being articulated? The choreographic material puts into the focus of its research the development of the movement and physical expression of a newborn that makes movements without being aware of doing so. Taking the developmental movements as a template, the project questions how certain developmental phases of a child’s movement and its characteristics are to be translated into choreography: what they produce, how they are interpreted and what happens when they are produced by a grown-up body trying to reconstruct them. Can the performer shut down her consciousness and simply be the movement, even for a moment? Is it possible for the trained body of a dancer that is contaminated with too much meaning and knowledge to gain back its reflex, its muscular contraction that contains nothing more and nothing less than an abstract muscular impulse and a sense of helplessness? The dramaturgical principle organizes the choreographic whole by bringing the elaborate virtuosity of a dancer’s movement back to its source, back to the point where movement becomes deprived of meaning i.e. where the movement itself recognizes its own point of origin.
The project was supported by the City of Zagreb and realized in collaboration with Croatian Association of Dance Artists and School for contemporary dance Ana