Margrét Sara Guðjónsdóttir
CONSPIRACY CEREMONY – HYPERSONIC STATES
Performance by Margrét Sara Guðjónsdóttir (IS)
“The Berlin-based Icelandic choreographer Margrét Sara Guðjónsdóttir works with extreme consistency, so that it almost becomes a manner…The conspiracy suggested in the title is ambiguous in this symphonic act for an ensemble of black-clad figures whose tentative movements affect the entire space. They develop a physical concentration on the threshold between dreaming and waking that entirely absorbs us.”
Anna Angstrom, Svenska Dagbladet
In this work by Icelandic choreographer Margrét Sara Guðjónsdóttir, intricate states channelling various energies and sentiments without filters, unite in a symphony of pathologies, originating in the private psychological and emotional body.
Transferring itself into the bodies of the audience as they meet the performers with full intensity, the set up allows the viewer to experience these full body HYPERSTATES together with the dancers. The language of the states carries a force that is marked by an infinite presence that reveals, as well as kick starts an active process within the body of the viewer.
Putting these states on display offer us the opportunity to together explore and confront the inner landscape of the de-bordered body, as well as creating a corporeal language that portraits and serves as a doorway into an alternative parallel reality.
In Conspiracy Ceremony – HYPERSONIC STATES, Margrét Sara Guðjónsdóttir and her long-term artistic associates continue their in-depth research into a methodology that accesses psychological, physiological and emotional sub-worlds. Since 2013 she has been developing a new genre of performative body language, and an original working method that directly informs her creative outcomes.
“And it is true that something incredible happens in this “conspiratorial ceremony” in which Gudjónsdóttir involves five dancers, most often separately. Little movement, no interaction or claim of communication with the space or the public. The hyper-state is an internal affair. And yet …No one, probably, has ever been so successful in rhyming with a state of choreographic urgency. Many contemporary choreographers have, however, got down to work. Without much result. Feeling what is going on within the body or mind of an interpreter usually requires the viewer to have an acute divining ability.
The Conspiracy Ceremony changes the game. With her research on myofascial release and her personal approach to somatic practices, Margrét Sara Guðjónsdóttir has opened doors to the invisible and buried body memory. The performers manage, with a minimum of gestures, to create energetic fields that link their bodily presence to very powerful and almost palpable mental ones.
Date: 22/05/2018, Thomas Hahn • dansercanalhistorique.fr
CAST & CREDITS
Direction, choreography, concept, stage, costumes /
Margrét Sara Guðjónsdóttir
Choreography/performers / Johanna Chemnitz, Catherine Jodoin, Laura Siegmund, Marie Topp, Suet-Wan Tsang
Music / Peter Rehberg
Lighting / Martin Beeretz
Dramaturgical Consultants / Zeina Hanna, Richard Aslan
Production Management / Elena Krüskemper
Photos / Jeannette Ginslov
Co-production and funding / Funded by Senatsverwaltung für Kultur und Europa, Abteilung Kultur, LÓKAL – Performing Arts Reykjavík, Sophiensaele Berlin.
With support by / the Arts Council of Norway and the City of Reykjavík
Distribution / Something Great, www.somethinggreat.de
Premiered / at the Sophiensaele theater in Berlin november 2017
About Margrét Sara Guðjónsdóttir (IS)
Margrét Sara co-founded with Sveinbjörg Þórhallsdóttir the production house Panic productions in Reykjavík Iceland. A production house which was active from 2004-2009 and produced and initiated collaborative performance works with foreign artist. Margrét Sara has produced and toured internationally with work under her own name since 2010.
Margrét Sara has toured internationally with her own work since 2010 and currently lives and works in Berlin. Displaying the politics of intimacy is a core theme within her choreographic work while working with and exploring pathologies of the social political body within our own bodies. Margrét Sara has collaborated with a consistent team of performers over the last five years and the soundscapes which accompany the works are exclusively created by and with Peter Rehberg (PITA), electronic composer and director of the record label Editions MEGO in Vienna.
In 2015 Margrét Sara became artist in residence at the Cullberg Ballet in Stockholm. Creating her second commissioned work for the Cullberg Ballet in 2017. She teaches periodically at the Icelandic Dance company, dance department of the Art University of Iceland, BA dance program at DOCH in Stockholm, MA department of choreography in the Theater Academy of the Art University of Helsinki, Dansalliansen Stockholm, Dansehallerne Copenhagen, Kiezkieken- program of dance workshops for refugee women in Berlin, BA dance program at Academia Nazionale di Danza in Rome