This “secret” process of the dancer’s body also co-shapes the visible stage image. Despite that, it is visible and readable to the spectators in varying degrees. At this point, The Poiesis of the Self makes a significant shift – it removes the stage image (and the image of the body, its language / expression) in the classical sense, revealing it only through the personal experience of each “spectator”.
RTV SLO, Nika Arhar
“The choice of the performance, which forces the spectator to think about the relationship between body, space and thought, does not underestimate youth audiences. The multitude of theoretical references, statements, movement inserts and other elements offer the spectator more possible reference points than one can process during the performance. The placement of the spectator within the staging space forces one to continuously reflect on one’s position in the space and the performance.”
Young curators of the programme for perspective art curators by Glej Theatre and Bunker Ljubljana
The poesis of the self
2016 – 2021
The Poiesis of the Self is an unconventional dance-theory performance that experientially, informatively and metaphorically presents to the spectator the relationships between the body, space and the physical laws that govern both materialities. The performance uses a mixture of different artistic means and elements (objects, bodies, images and linguistic features) and a series of simple kinetic elements and actions in space. In a way, it communicates to the spectators the results of a many-month process, wherein it gives up the possibility that the spectators would only follow it from afar.
I am interested in
When the spectator becomes active observer?
The poiesis of the self gives up the aspiration to belong to a particular dance style, which usually refers to the question of dance identity (What is a particular dance?), But it is primarily interested in what it can dance or the body does and in what way it can do.