The dancers body in dDumY another myself is understood as an organization of lines in space. The initial movement ideas developed as line drawings taking the figure of a body pushing a pram and reproducing it as an encounter between a dancer and a chair. Elevating the body on the plinth of tables places it within the frame of Sculptural depiction, taking the parameters of the everyday and interacting with the banal minimum to the maximum, chair and table becoming vehicles through which to subvert meaning, utility and function.

A mimetic relationship between chair and body allows the body to assume the deathly and androgynous quality of the object. This now hybrid body can no longer be identified as only ‘dancer’ or ‘chair’ and as such questions the representation of both. The dancer without a face is as the dummy, an anonymous ‘anybody’ as oppose to a ‘somebody’.

The dancers body in dDumY another myself is understood as an organization of lines in space. The initial movement ideas developed as line drawings taking the figure of a body pushing a pram and reproducing it as an encounter between a dancer and a chair. Elevating the body on the plinth of tables places it within the frame of Sculptural depiction, taking the parameters of the everyday and interacting with the banal minimum to the maximum, chair and table becoming vehicles through which to subvert meaning, utility and function.

A mimetic relationship between chair and body allows the body to assume the deathly and androgynous quality of the object. This now hybrid body can no longer be identified as only ‘dancer’ or ‘chair’ and as such questions the representation of both. The dancer without a face is as the dummy, an anonymous ‘anybody’ as oppose to a ‘somebody’.

CREDITS

Choreography & Performance: Colette Sadler

A Tramway Co-production made with support from Scottish Arts Council, Dance Base Edinburgh and Tramway Glasgow.