FAQ: Peter Trosztmer, Susan Paulson und Jeremy Gordaneer
What was the first move you started the day with?
Peter Trosztmer: Ha – today I am sure that we all made coffee.
Where is the line between movement and dance?
Peter Trosztmer: There is no clear line, it is blurred. Dance involves the body and its intention, which is then further framed/defined by the witness, observer, audience...
Why do you dance?
Jeremy Gordaneer: I don't dance, but I've been told that I do.
Susan Paulson: I dance because it’s my method of navigating this life. It offers another approach to dealing with the questions, problems, realizations, ignorance, and all the gems that living entails. It’s also a way to breathe.
Do you prefer dancing on your own or together with other people?
Peter Trosztmer: Well to tell you the truth I really do love dancing alone. There is also something quite easy and incredible about dancing with a partner. It is kind of a connection of purpose or spirit that is just very natural between two people. To make sure that I don’t really answer your question I will add that the shared responsibility of dancing in a group is also engaging. I like the stigmergy of having a part to do and that is the part I need to focus on – and if everyone can manage this the collective works.
Jeremy Gordaneer: Definitely with other People.
Susan Paulson: Isn’t it all equally important? I need and prefer it all. One informs, feeds and compliments the other. I prefer them all depending on what I need at that moment.
What is your inspiration when you do choreographies? What was the inspiration/starting point for the work you show at DANCE?
Peter Trosztmer: We make work for all kinds of reasons. Some of the time it is political, some of the time we wish to show a perspective, other times we are interested in revealing some part of ourselves that connects to something that we feel is universal.
#boxtape tape, for some reason became an obsession at one point. It has a wonderful fragility yet once you understand the material it is easy to understand its incredible strength and malleability. It is also so familiar. We have all packaged boxes for moving or wrapped gifts or just simple fixed things. We joke sometimes that #boxtape is the poor man's gaffer tape. It is like any material one works with; over time there is a comprehension that arrives. The material changes and is affected over time with engagement, therefore becoming and archive of experience, this too is rather exciting to me.
Do you have a style? Can you describe it?
Peter Trosztmer: I am not sure I really have a style. I was trained in modern dance and ballet, I love to cross country and back country ski, and feel I may have been born to ride a bike. I think I would say that I don’t really have a style.
Susan Paulson: My style would be finding what movement resonates most with me at whatever given moment, whether it be for reasons of health, expression, comfort or challenge...or the million other reasons that exist.
What do you like better: the performance or the rehearsal?
Jeremy Gordaneer: For #boxtape the whole thing is a performance and a rehearsal – they merge.
Susan Paulson: It depends very much on the project. Sometimes the meat of a work happens in the research period, other times it all unfolds on stage. We don’t always know when or where the magic will happen.
In your work: what is the body? (And where is mind?)
Peter Trosztmer: The work directly affects the body when it is fully engaged with. The work is about the body and its relationship to space, environment and architecture. The mind works with the body to process the information and experience that the work stimulates.
* special question: How would you describe the relationship between dance/body and object in #boxtape?
Peter Trosztmer: It is easy to see the dance/body in #boxtape. The work is physical and it is not difficult to see how the physicality of the building, development and engagement of/with the instillation is a dance. It requires the body to function in an unfamiliar environment with a great deal of care and consideration where we plan and execute our next move. It is comparable to dancing within a system or working with a structure that is built through the doing. The body is engaged, and the mind is making decisions as the body moves.
I am a dancer/choreographer and have been for the greater portion of my life. What I do, make, create, engage with is largely informed by this. I would go so far as to say that I dance my way through life and use choreographic structure in my approach to problem solving and action. In this way I choreograph and dance the installation.
The object is a rather spectacular thing in this project. It is beautiful, fragile and at the same time incredibly strong, organic in the sense that it keeps changing. It is familiar yet completely unknown when you first engage with it. It records and archives experience as it is experienced. As it stretches and retracts it changes in appearance and texture. The object in many ways becomes a body that envelopes our bodies like a giant exto-facia.
Jeremy Gordaneer: My background is in visual art – sculpture and painting/drawing mostly. I see this project as a natural extension of my visual art practice. Many of the inquiries are shared, although #boxtape allows a greater physically and a more 'public' collaborative Approach.
Fotos: Carmen Kovacs