Tre spørsmål til koreograf - Mirenka Cechova
Sniper's Lake, Spitfire Company (CZ)
Vi snakket med Spitfire Companys koreograf Mirenka Cechova om prosessen bak forestillingen Sniper's Lake, kun noen dager unna urpremieren.
- We are very close to the premiere of Sniper's Lake. How has the creation process been during this last residency period at Bærum Kulturhus?
Mirenka Cechova - We had an incredibly fast start during the rehearsals in Prague - and set the structure of the performance at an early stage of the process. These weeks at Bærum have been essential to go deeper in the process. For me as a choreographer, a distance from the initial point of creation, or perhaps a distance from the place I am connected to, allowed me to see "the guts" of the performance. I worked individually with the performers to cross over their common patterns and habits. My goal was to extract very personal and intimate expression from each performer and to guide them towards a real experience on stage. Sniper's Lake is very extreme physically - I wanted their performance to be less acted and more experienced in real time on stage.
- Sniper's Lake is the third part of a trilogy (with "One Step before the Fall" and Animal Exitus") where Spitfire Company explores themes related to people in extreme situations (Parkinsons disease, loss and now refugees). How did you work with this trilogy, is there a continuity?
Mirenka Cechova - The idea of a trilogy came from Petr Bohac, artistic director of Spitfire Company who also directed the first two performances. The topic of people in extreme situations appeared at an early stage of our work, with the very first performances we created after our company was founded in 2008, and goes as a guiding thread through all our creation. But this trilogy is different because the topic is given a particular esthetic: a concrete frame, limited space and people fighting within it: boxing ring, glass box with life tree or red room. In each case the space determines how people are fighting with each time a different extreme situation. Through the trilogy the performers have to overcome obstacles and their own physical limitations -exhaustion, holding their breath, fainting, being shot or being exposed - without losing hope. This process helps performers relate to the topic in a very intimate and personal way - which also appears on stage. Another guiding thread through the trilogy is the music choice and sound design - all music is newly composed for each performance, creating an organic dialog with the action on stage.
- Your last performances are exploring very concrete themes - would you say that your work has a documentary dimension?
Mirenka Cechova - Yes, in the last three years I have been creating mostly documentary based performances. I feel the need to bring important topics of our society into the art. On no account am I bringing an objective image or answer. The documentary material serves as a real source that moves me and affects me. I am talking about real people, real situations but through the eyes of an artist who always thinks in different dimensions. I believe that art can be a bridge and a tool to understanding topics and burning questions that in other ways would be too far, too distant. Refugees are no longer statistics in newspapers, but human beings feeling fear and hope, and searching for happiness the same way as you. And you cease to be indifferent.