Pressing no. 48

Ticket Theatre Dance in rehearsal, 2008
Ticket Theatre Dance in rehearsal, 2008


As much as I would like to melt into the matt surrounds of the studio, I cannot. While part of my remit requires the silent and motionless interpretation of the very physical four hours before me, the other part is explosively disturbing.

I have to break an invisible boundary that delineates Fluid Territory from Static. Outside of this fictional perimeter life stands still. To the eye of the dancers this is represented by:
__________The stereo, which emits a sound locked in the same progression.
__________The mirror, which imitates depth and movement impassively.
__________The video camera, which locks and freezes inspiration and spontaneity into a pause-rewind-play cycle of predictability.

Inside of this perimeter the bodies can do anything they are capable of.

My presence alters this dynamic, as I take my lenses, break into their space and seal stolen moments in chemical reactions. The flash-snap instants break the impression of an inner and outer space. I remind the dancers that the wall does not exist, the the borders between motion and stasis can be punched through with a blink and leapt with a glance.

© Matthew Sheret, 2008.


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