Csenge Kolozsvári NONLINEAR, NON ARTICULATED

I am interested in teaching my body to walk again – to balance on a one inch wide slack line – not as an acrobatic act, but as a strategy for thinking differently. It is through embodied experience that I find this difference.”

In terms of the event, there is no sense of linearity in the walking on the line. Through the continuous cocomposition of all the factors experiencing it – the performer, the spectators, the space, the sounds – the line expands its own potential for sounding, balancing and resonating. The sounds created by the balancing movement are recorded through contact microphones. The intimate relationship between the line and the body creates a vibration that will be amplified and accumulated live, referencing the layers of repetitive movements during the learning process and the performance. By observing this movement series in their everydayness, one can discover the details of the process that are populating the experience; the need for alignment with the inner rhythm and the momentum of the movement, the relation between desire for security and overcompensation, the re-valuation of minor movements, the role of changes in breathing, the sense of subjective time-in-the-moving, the ways movement sounds through.

The result is an open ended, unstable and dynamic system of mutating thoughts, sounds and movements – a space to invent, create and experiment. To learn how to balance – or rather: to learn how to be able to lose it and get it back again.

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