In the blind spot
“In the Blind Spot” takes the notion of letting go as its starting point and leads the body to the edge of collapse and utter surrendering. It strives to transform the supposed weakness of the spent body into something positive and celebrate it as the refusal of the achievement imperative, the fullness of its fragility revealing the unseen location of the non-resistant resistance. ”In the Blind Spot” expounds a very physical movement language, extracting the usual limits of identity and (self) assertion by its very softness. With limitless non-aggression it reveals and provokes simultaneously. The project radically puts the singular body as the centre piece. As if under a magnifying glass, hidden insides are brought to light.
The performance “In the Blind Spot” belongs to the “Blind Spotting Performance Series” launched in 2014 by Margrét Sara Guðjónsdóttir. It is simultaneously the a commissioned first part of Angela Schubot’s 2015 solo trilogy “Körper ohne Macht” (Powerless Bodies).
- The Blind spotting performance series
The “Blind Spotting Performance Series “ was launched with the performance “Blind Spotting” which premiered at the Sophiensaele theater in Berlin in spring 2014. The “Blind Spotting Performance series” includes at this point; “Blind Spotting” a piece performed by 8 dancers, “Blind Spotting-film version”, an artistic film created with Antoine Verbiése from the original 8 dancers performance, the duet performance “Spotted” which premiered in autumn 2014 during slingan tour in Sweden and the solo performance “In the Blind Spot” which premiered at the Sophiensaele theater in Berlin spring 2015. All the pieces are born from the same artistic research.
The main topic of the series as a whole is the vulnerability of the fragile bodies constituting the achievement-oriented society of our times. Tracing the consequences of bodies obliged to ‘self-design’, showing symptoms of burn out and alienation the performance works attempt to bring out the ‘cracks’ in the ‘ruined’ body and reveal the invisible and hidden places of this body. Whilst it might be a spent and numb body it´s state is celebrated as a denial of the imperative to achieve and contrasts the logic of hyperactivity with another kind of energy and strength. A body that opposes influences and exerts a subversive power on its environment. Transferring itself, as a kind of physical-energetic contagion, onto the bodies of the audience. From the starting point of letting the body fall and surrender completely, this body continues it´s emptying and disintegrating to the extreme during the performances. The disintegration of the body of the performers is continued inwardly simultaneously by the audience through the steady, slow and hypnotic transformation taking place in front of their eyes. The series was born from the need to make space on the contemporary stage for the vulnerability of the anti-hero. It presents the viewer a new unseen physical language, one that offers a surrendering marked by a special form of heaviness as well as extreme sensitivity, and is revealing and provocative at the same time. The idea behind the series was to create a body of works born from the same source which would feed of one another. Simultaneously creating a situation where the people involved could have the opportunity to develop and work over a longer period of time on the same topic and the type of physiological language born from it.
- Om Margrét Sara Guðjónsdóttir
Margrét Sara Guðjónsdóttir was born in Reykjavík Iceland, studied dance in the Netherlands and lives and works in Berlin. She has toured internationally with her own work since 2007. In 2014, with the performance “Step Right To It”, Margrét Sara was chosen as one of the priority companies of the cross-border dance performance network Aerowaves and for the second time for the ICEHOT! Nordic Dance platform. In 2014 she did a new version of her widely toured solo performance “Soft Target” (2010) as a commission by the Cullberg Ballet in Stockholm, titled “Targeted”. She also launched the first performance of the “Blind Spotting performance Seri” titled “Blind Spotting” at the Sophiensaile theater in Berlin spring 2014. The second performance belonging to the seri titled “Spotted” had a premier at the SLINGAN tour (Atalante in Gothenburg, MDT in Stockholm, Dansstationen in Malmö) autumn 2014. The third performance of the seri titled “In the Blind the Spot” premiered in 2015.
In 2015 Guðjónsdóttir is an artist in residence at the Cullberg Ballet.
She has taught at DOCH in Stockholm and at the Reykjavik Art university. Guðjónsdóttir has worked as a performer and collaborated with amongst others: Gisele Viènne and Dennis Cooper, Erna Ómarsdóttir and Jóhann Jóhannsson, Jared Gradinger, Constanza Macras/Dorky Park, Esther Salamon, Jan Fabre.
Angela Schubot is co-founder of Two Fish (2000-2012) with Martin Clausen. Since 2009 she works with Jared Gradinger, developing pieces about the topic of debordering of the body, which tour successfully. Beside she works and has worked with theatercombinat Wien, Dorky Park/Constanza Macras, pictoplasma, Rahel de Joode and Jefta van Dinther among others. Besides her most continuous collaboration partners are Martin Clausen and Jared Gradinger, and as a performer with Margret Sara Gudjonsdottir.
In 2016 Robert Steijn and Angela Schubot plan to premiere their first collaboration duet-work. Angela Schubot is still interested in solo works based on intensive phases of movement research, which are the core of her collaborations. In 2015 her solo “Körper ohne Macht” premiered in Hebbel am Ufer, Berlin. Schubot is teaching movement research and is coaching a.o. at DOCH/University of Dance in Stockholm.
Margrét Sara Guðjónsdóttir holds a workshop, organised by Dansalliansen, at MDT 13-15 April.
Direction, Choreography, Costume, Set design: Margret Sara Guðjónsdóttir. Performer: Angela Schubot. Music: Peter Rehberg. Light: Martin Beeretz. Thanks to: Zohar Frank. Company management, PR: björn & björn. Co-production: produced by Angela Schubot in collaboration with the the SOPHIENSÆLE, HAU Hebbel am Ufer, CDC Uzès Danse, Theater Freiburg, Schwankhalle Bremen and ImPulsTanz Wien, MDT Stockholm. Funded by the Hauptstadtkulturfonds. Supported by Tanzfabrik Berlin and ada Studio.