Amanda Apetrea, Emma Tolander, Nadja Hjorton, Stina Nyberg
A night at the theater

Four solos in one night.

“Cover” with and by Amanda Apetrea
“Cover”, is a new version of a contemporary or previously made, commercially released or popular dance or choreography. It can sometimes have a pejorative meaning implying that the original should be regarded as the definitive or “authentic” version, and all others merely lesser competitors, alternatives or tributes (no matter how popular).

Never the less you might try to be like your idol and do their dance because you love it so much and identify with it. Or you choose to cover something just because it’s so far from what you are that it will work in contrast of the original, and that in it self might cast light on something else. Maybe you just want to cover something up? If the cover or cover-up is successful it might lead to a break through (if you’re not already famous). A lot of people might be impressed that you’ve shown such personality in expressing something that was already there. They might think that when you made it, it really made sense to them. Or is it perhaps the lack of sense that moves them? In any case you have spoken to hearts of people.

“Dancer” with and by Emma Tolander
“I am a dancer. To dance is the best thing I know. I feel bad if I do not practice every day. I always work to be as good a dancer as I can. ” In her solo, Emma will search for the deepest and darkest intentions and ideals of being a dancer.

“Radio dance” with and by Nadja Hjorton
“I run across the floor. Jump, roll and spin. Some classical music is playing – probably ‘In the hall of the mountain king’. I flutter with my invisible butterfly wings and reach towards the ceiling. I spin and spin and spin. Eventually I fall down in a heap on the floor and I lie there, catching my breath and let the spinning wash over my body. As waves. I have just turned 5 years old, the year is 1986 and Olof Palme has just been murdered.”

“Radio Dance” is a solo dance performance that deals with dance and history filtered through a personal life story. Nadja Hjorton uses the radio format and the performance moves through a subjective dance history that makes visible, and questions, a general dance history. In the performance Nadja is broadcasting her radio program live, a program that covers her own life from childhood to adulthood with Sweden and the world’s political climate as a back drop. It is a program about dance and dancing. The autobiographical take in “Radio Dance” is also an attempt to talk about perspective – which artists and practitioners must relate to their history and which ones can ignore theirs? With a nostalgic touch and some sentimental fragments, “Radio dance” moves from the intimate to the large, from the personal to the common and from the past to the now. Through listening, dancing and storytelling Nadja Hjorton attempts to create an event that invites and allows its spectators to be both attentive and unwary.

“Musical” with and by Stina Nyberg

Sometimes the meaning of a sentence is hidden in the scrambled sounds, so let the breath of the song and the tapping of the feets of words set the rhythm tonight.

In Musical, anatomy, body, sound, song, language and object are equally dependent on eachother. Loosely built on Emotional Anatomy, a fake somatic practice for materialising emotions, the practice has materialised into several forms and expressions organized in this solo musical. The practice is made out of speculation and fantasy, hoping to imagine the world differently starting from imagining our own body differently.

Remember, my friend, that no one can translate the meaning of what seems like a shout.