In March is inspired by a walking scene from the movie Gerry by Gus van Sant. Two characters, both named Gerry, are lost in the Death Valley. Their march without water or food under the burning sun strains their friendship. Towards the end of the movie, we see them exhausted, barely moving forward towards their mysterious goal. With the rising sun, a new day begins, which will perhaps be the last one. Similarly to the movie in the piece, two performers find themselves in a continuous march. Walking becomes a way of passing through physical, emotional and mental landscapes. Two bodies walking one behind the other at a distance transform through time into two characters who walk together… one chasing, threatening the other… competing, waiting, avoiding, running away from each other... They become characters of our personal narrations.
The juxtaposition of two people, objects or concepts is perceived as relational by the viewer. One and one make two, thus each part willingly or unwillingly relate to the other. They exist in relation to the other for the perceiver whom we invite to reflect on the narration that he/she is the author of, which is triggered by the perception of the number ‘two’. Thus one can plunge into one’s own narrative configuration, shift from one meaning to another and witness a relation appear, disappear, reappear, transform itself and individuals in a continuous flow despite of the simplicity of the set-up: two people, a surrounding and a frame.
In March is a dance piece that investigates the emotional dynamics created by the presence of two person in a frame and different forms of relating to each other in the duo form. Throughout the piece we observe the condition of togetherness and how these negotiations define and divide individuals. For the parts as much as for the observer, any relation is first of all a reconstruction through the process of deploying personal and popular historical elements. Thus it is a certain type of fiction unfolding in the imaginary of the viewer. In March invites to think on one’s own preconceptions and to question why these associations occur rather than others, how an image is processed and how we process an image.
concept, choreography Bahar Temiz in collaboration with Daphne Koutsafti, Emmilou Rößling, Maik Riebort performers Daphne Koutsafti, Emmilou Rößling Light Design Jan Maertens
Production Platform 0090 Coproduction Kunstenwerkplaats Pianofabriek, Tanzfabrik Berlin, C-TAKT With the support of Centre National de la Danse and la Ménagerie de Verre.
Maik Riebort is a performer and choreographer based in Berlin. His works emphasize on the process to be a product and vice versa in dance. He taught “Viewpoints” at University of Fine Arts -UDK- Berlin, Movimentos Festival Wolfsburg and Tanzfabrik Berlin, worked continuously with Tino Sehgal for his artwork "Kiss" and "Instead of allowing some thing to rise up to your face dancing bruce and dan and other things", made works with Ismael Ivo, Prof. Ingo Reulecke (Ernst Busch Berlin), Andreas Müller, Nir de Wolff, Theater Vorpommern (Germany), teater limfjord (Denmark) and Keith Hennessy. He worked with Felix Ott in the production “An Iliad“. His own works were shown at Dublin Fringe Festival, Tanztage Berlin 06-09, Dock-11 Berlin, Hau 3, Galerie Dieter Reitz, Tanzfabrik Berlin, Oktoberdanse Festival 2010 (Norway). He recently started a collaboration work with Bahar Temiz on the work “2PCC“.