Lali Ayguadé / Guilhem Chatir
About the Company
Lali Ayguadé was born in Barcelona in 1980. When she was eight years old, she began studying music at the Conservatorio del Liceo in Barcelona. In 1996 she entered the Institut del Teatre de Barcelona and a year later the Belgian school PARTS. Professionally, she has worked in Denmark with the company “Publik Eye”, alongside the playwright Carmen Mehnert. In 2003 she entered the Akram Khan Company as a permanent member. She has also worked with Roberto Olivan and with the Hofesh Schechter Company. In 2015 Lali created her first full-length work with four performers, “Kokoro”, co-produced by the Mercat de les Flors and Temporada Alta. The following year, together with Julian Sicard, she created “On the Journey to the Other”. In 2010, she was nominated as “Exceptional Dancer” by the Critics’ Awards in London, and in 2014 as “Best Creator”. In 2016, she was also nominated as “Best Dancer” for the Critics Awards of “Recomana.cat” in Barcelona. Lali shares her technique and the research linked to her creations around the world through workshops.
The French-Moroccan Guilhem Chatir (1993) graduated from the Conservatoire à Rayonnement Régional de Toulouse. In 2010, he entered the National Conservatory of Music and Dance in Paris, where he had the opportunity to create short pieces during the choreographic laboratories and to participate in the creation of “Sacré Printemps” by Cristiana Morganti.
In 2013, he joined the P.A.R.T.S school of Anne Teresa de Keersmaeker, where he learned repertoires of choreographers such as Trisha Brown and Rosas. In 2015, he started working with the company of Wim Vandekeybus, Ultima Vez, in the re-staging of “What the body does not remember.” The same year in November, he began to work on the reactivation of “In spite of wishing and wanting”. In November 2018 he will start working with Yoann Bourgeois for a new creation.
About the Piece
Here. That is where we are at. (But) are we aware of what was before? Do we really know where we come from? We arrive in the now. A world which has been existing before anyone around us was there. A universe saturated with rules, norms, values, prejudices, cultural defined characteristics, language, hierarchy and so much more. Products from human development, structuring our everyday life. Our existence is – despite our materialistic nature – based on invisible things and thereby demands suspicion of disbelief. Rules are not to be touched by the hands, power itself is not visible for the eye, language carries meaning.
Here. In time and space we arrive. We were preceded and we will be over lived. Others will continue after our own final moment in the ‘here’. We are just a segment within the bigger picture. We are temporary and thereby able to give sense. Defined existence allows us to start from scratch and live towards something. Our being is shaped throughout life time. Our inner and outer presence is clayed into a shape we think to assemble ourselves. Too often we are not aware of the fact that this process is mainly subjected to external forces. ‘The Other’ is a critical entity, not only deciding on how the outer world is perceiving us but also creating the image we have of ourselves. But you are not alone. On his turn, ‘The Other’ is also influenced by others. All together we are embedded in a bigger structure of rules, norms and so on which was created and is maintained by our very own selves.
“Death does not concern us, because as long as we exist, death is not here. And when it does come, we no longer exist.” Epicurus
Disposed of any kind of particularity Lali and Guilhem explore the process of being born, beginning from the begin, arriving in a structuralized context. An undefined force roams around. Astrid seemingly conducts the everyday life and process of growing. She does not stand in this world but acts from out. Through voice and presence, she triggers the mechanism of awareness and realization. The two freshly born personae grow physically and psychologically. Throughout this process of growth, they interact and develop and shape themselves and the other like molded clay. The outer force inspires and destructs, provokes and stabilizes the dancers who slowly emancipate. They no longer passively undergo the sudden caprices and outdated realities of the soprano. The two entities, conceived and developed by her, slowly break out and manifest themselves towards the source they originate from. The clay figures, once living by the prescribed rules, now return to the inner force and instincts of the own. No longer they quietly follow without resistance. They empower themselves and the other to step out of the structure reinstalling the weight of earthy impulses and intuition.
Lali and Guilhem research on how we sometimes inevitably need to break things down and escape in order to be able to get closer to the truth. In times where we get born on an established path with prerecorded rules, expectations, dreams and hopes it is time to criticize and crush and find back common ground with our inner self, stripped of what is not ours, what is not natural. Demolition, though a painful and unpleasant thing to go through hopefully turns into instinctive rehabilitation. But how can we reinstall ourselves and the alliances with the other and the outer force we cannot control?