In SKINNED the dancers surrender to losing safety. They search for the potential that lies within this moment and the chance to get to know ourselves differently. Playing with the desire for control, they explore exposure as a creative act. How much are we ready to reveal? Sensory perception and improvisation are starting points for the creation of movement, as the dancers shift between intuition and instant composition. The raw sounds of their movement, touch and breath are recorded live and woven into the raw fabric of the piece, creating an intimate experience for the audience.
SKINNED deals with loss of safety in content and form. Confronting the unfamiliar and thus departing from a state of not-knowing, SKINNED looks at risk-taking and our desire for control. The movement research is based on structured improvisation, the dancers act between the polar priorities of intuition and composition. Real physical reaction to sensation is used as a starting point for creating movement beyond habitual movement patterns. The skin delineating the border between self and world is subject of the physical research. The movement qualities of day-to-day actions are examined. The piece is staged in close proximity to the audience, stage and auditorium fuse into one. The sounds of the dancers’ bodies, their movement, touch and breath are recorded live and woven into the fabric of the piece.