6D
FEATURED ARTISTS
HAPPENING IN THE MUSIC. IT TAKES A LOT OF WORK AND TIME. H: BUT WHAT ABOUT „TWO TRAINS“? WAS CINEMATIC ORCHESTRA AN IMPULSE? T: NO, MUSIC CAME LATER. IT STARTED FROM CHARACTERS, A WOMAN IN RED DRESS AND A MAN IN BLACK SUIT. ACTUALLY EVERYTHING BEGAN WITH COSTUMES, WE HAD THEM, WE WENT TO ST. PETERSBURG AND TRIED TO SEE, HOW THE VISION OF THOSE TWO FIGURES WILL COME ALIVE IN THE CITY. H: AND YOU HAD SOME PROBLEMS THERE AS YOU WERE CREATING THE PIECE? T: WE TRIED TO FILM IN METRO AND THEY CHASED US AWAY, BECAUSE METRO WAS A MILITARY OBJECT AND IT WAS ABSOLUTELY FORBIDDEN TO RECORD IN THERE. BUT THEN WE MADE A LITTLE FILMING EVERYWHERE AND WE GOT WHAT WE NEEDED. H: AND „LANDSCAPING IN PROGRESS“, IT WAS TOTALLY OTHER IMPULSE? T: YES, IT WAS THE EVENT,TREMBLING THAT WAS IN THE AIR.WE TRIED TO CATCH WHAT HAPPENED AROUND THE BRONZE SOLDIER.WE WANTED PEOPLE TO FEEL THE SHAKING GROUND, SHAKING OF THE SOCIETY, NOT TO SHOW THE EVENT ITSELF. WE DID NOT CRITICIZE,WE OBSERVED. WE USUALLY TRY TO SHOW, NOT DIRECTLY, BUT THROUGH METAPHORIC THINKING. H: IS IT POSSIBLE TO TRANSLATE A WORD INTO MOVEMENT? IS SIMULTANEOUS TRANSLATION A CHALLENGE OR A FAILURE? T: DIFFERENT LANGUAGES HAVE DIFFERENT CAPACITY TO TALK ABOUT DANCE.THERE ARE LANGUAGES THAT ARE MORE ADEQUATE TO DESCRIBE WHAT BODY FEELS, MORE PHYSICAL LANGUAGES. BUT I THINK WORDS ARE NOT DIRECTLY TRANSLATABLE INTO MOVEMENT. IN TWO YEARS YOU COULD HAVE THE ANSWERS FOR THIS QUESTION, BECAUSE MY MASTER´S THESIS IS GOING TO BE WRITTEN ON THIS SUBJECT. H: BUT MAYBE WE DO NOT HAVE THOSE WORDS IN ESTONIAN YET? T: I DO NOT THINK THERE IS A NEED FOR INVENTING NEW WORDS. MOVEMENT-THINKING IS A NEW WORD. H: WHAT IS MOVEMENT-THINKING? T: IF YOU TRANSLATE IT DIRECTLY THEN IT IS THINKING THROUGH MOVING AND OBSERVING IT. MOVEMENT PHILOSOPHY. H: AND HOW IMPORTANT IS HEAD IN IT? T: THEY SAY THAT HEAD CARRIES OUR BODY. HEAD IS ONE ANATOMICAL PART OF THE BODY. HEAD CAN BE THE HOME OF THOUGHT.WHOLE BODY IS THE HOME OF THOUGHT, HOME OF MIND. H: COULD IT BE THAT LITTLE TOE THINKS AS HEAD? T: ABSOLUTELY.WE HAVE A BUNCH OF NERVES INSIDE OUR BACKBONE WHICH IS DIRECTLY RELATED TO OUR BODY AND BRAIN. IN THAT IS THE PHENOMENA OF MOVEMENT. IF YOU STUDY DANCE, THEN THE INTELLIGENCE IS NOT ONLY IN BRAIN LEVEL.YOU CAN LEARN THE NAMES OF MUSCLES AND WHAT ARE THEIR FUNCTIONS, BUT IT DOES NOT WORK. IF YOU FEEL A CONNECTION POINT IN YOUR MUSCLES, BONES, SKIN AND THOUGHT,THEN YOU WORK WITH THE BODY SENSITIVELY.THIS IS THE BODY INTELLIGENCE. I WANT TO UNDERSTAND MYSELF. IF I CREATE A CHOREOGRAPHY,THEN I ASK TIME AND SPACE FROM PEOPLE, I SHOULD HAVE SOMETHING I WANT TO SHOW THEM,TELL THEM. H: WHAT DO YOU EXPECT FROM THE AUDIENCE? CONTEMPORARY DANCE HAS MORE DEMANDS ON PEOPLE TOO, THEY SHOULD BE WATCHING WITH THOUGHT.YOU CAN NOT BE PASSIVELY NUMB. RENÉ: I HAVE ALWAYS ASSUMED THAT AUDIENCE HAS A SENSE OF METAPHORICAL THINKING. I HAVE BEEN MISTAKEN A LOT, BUT I HAVE HOPED FOR IT. I HAVE ASSUMED THAT THEY DO NOT LIKE ONLY BANAL JOKES, THEY ARE ABLE TO THINK WITH US IN THE THEATRE,THEY HAVE A SENSE OF MUSIC (NOT THAT THEY WOULD HAVE TO BE MOZART OR BEETHOVEN). I HAVE BEEN MISTAKEN A LOT, BUT I HAVE THOUGHT THAT. I HAVE BEEN NAIVE AND THOUGH THAT PEOPLE TRY TO CONNECT WITH THE LANGUAGE OF MOVEMENT. NOT ONLY CLEARLY EXPLAINABLE SITUATIONS.THERE IS LOT TO LEARN HOW TO RELATE WITH CONTEMPORARY MOVEMENT, HOW TO READ THIS TEXT. T: I ASSUME THAT PEOPLE TAKE THE TIME TO BE OPENED,TO BE READY TO WATCH. FROM MY SIDE I HAVE TAKEN THE RESPONSIBILITY THAT I HAVE SOMETHING TO SAY TO THE AUDIENCE.