IMK Documentation Model

IMK Documentation Model<Introduction>Page 1 of 75

IMK Documentation ModelPage 2 of 75

Extra Dry (1999) EG|PC Emio Greco / Pieter C. Scholten

Inside Movement Knowledge (IMK)Documentation Model

Gaby Wijers, Annet Dekker and Vivian van Saaze


Table of Contents Introduction

1. Context 1.1 EG|PC The company

1.1.1 The International Choreographic Arts Centre Amsterdam

1.1.2 Salons

1.2 Emio Greco I Pieter C. Scholten

1.2.1 Biographies

1.2.2 Collaboration between EG|PC

1.3 Artistic Team

1.4 Important concepts

1.4.1 The Seven Necessities

1.4.2 Implications of the Seven Necessities

1.4.3 Glossary

2. The Work Fra Cervello e Movimento: Extra Dry2.1 Description of the work

2.1.1 Fra Cervello e Movimento: Extra Dry

2.1.2 Title

2.2 Structure of Extra Dry

2.2.1 Score

2.2.2 Extra Dry Parts

2.3 Meanings of the work

2.3.1 Fra Cervelle e Movimiento

2.3.2 Extra Dry

2.3.3 The Seven Necessities with regard to Extra Dry


3. Phases and Parameters3.1 Different phases in the creative process

3.2 Parameters of change

3.2.1 Dancers

3.2.2 Space

3.2.3 Time

3.2.4 Audience

4. Prerequisites for Reconstruction Extra Dry4.1 What dancers need to learn

4.2 Warming Up

4.3 Installation

4.4 Workshop

5. Staging / Scenography5.1 Collaboration artistic team

5.2 Stage

5.3 Cues

5.4 Light

5.5 Sound

5.6 Computer/Software

5.7 Costumes

Appendix A. Biographies EG|PC (ICK Aanvullen)

B. Team Extra Dry (Gaby)

C. Play List

D. Technical Rider

E. Cue List

F. Light Plan

G. Soft Materials (Doeken)

H. Structure Extra Dry

I. References


‘The forms that documentary work assumes are as numerous as the needs from which they are born.’Suzanne Briet, What Is Documentation? (1951)


Why a Model?

In the context of the interdisciplinary Inside Movement Knowledge1 project, the research team

from the Netherlands Media Art Institute2 (NIMk): Gaby Wijers, Annet Dekker and Vivian van

Saaze were invited to explore the possibilities of developing a generic documentation model

for contemporary dance by drawing from their experiences in the preservation, documentation and

knowledge transfer of media art. What do we need to know in order to be able to recreate, re-

perform, or in other ways bring the performance piece into the future? The key objective of

the NIMk research team was to develop a methodology that allows to gain insight into artistic

reasoning in such a way that it provides future dancers, choreographers and researchers an

understanding of their work.3

1 http://insidemovementknowledge.net/2 http://www.nimk.nl3 The term ‘artistic reasoning’ here is used in relation to the body of knowledge that is involved in the artistic process. We use the term artistic reasoning to place emphasis on the decision-making and problem-

Introduction


Right from the start, the research team decided to focus primarily on the case study Extra Dry,

a seminal piece which has been performed in several versions. Extra Dry is the third part

of the trilogy Fra Cervelle e Movimiento (translated as: Between Brain and Movement). Fra

Cervello e Movimento is a set of three performances — Bianco, Rosso, Extra Dry. Where Bianco

and Rosso are solos Extra Dry is a duet, the first big stage co-production and staged for over

10 years with different casts. In capturing the artistic process, questions that emerged are:

What are the essential elements of this work (in its ‘finished’ condition) that should be

captured so that the documentation better reflects those invariable properties that make Extra

Dry the performance that it is. How do new performers or changes in music, lights, and set

effect Extra Dry?

This model is a work-in-progress and part of ongoing research. During the research period the

model has been adjusted and refined. The IMK-laboratory week of April 2010 has been dedicated

to collecting information, as well as to gathering and processing feedback from IMK partners,

the international advisory team, and external specialists.4 The feedback on the concept model

has proved to be very valuable and has helped to further develop the model into a useful tool.

Interestingly, all feedback groups valued the model for different reasons and expressed the wish

solving that is inherent to the artistic and creative process. Yet, rather than following the artistic process ‘in real time’; we have focused on tracing and documenting information that provides insight into artistic reasoning through interviews, literature research and by comparing respective performances of Extra Dry. 4 Feedback groups: EG|PC: Bertha Bermudez and Barbara Meneses / Utrecht University: Maaike Bleeker and Laura Karreman / AHK dance teachers: John Taylor. Maria Ines Villasmil, Vivianne Rodrigues / linguist: Carla Ferndandes / dramaturges: Fransien van de Putt and Andrea Bozic / dance scholar: Jeroen Fabius / international experts: Caitlin Jones, Reinhard Beck, Sami Kallinen.


to use and further develop the documentation model for their own practices. Thus, although the

model as presented here is an end-result of the IMK research as carried out by the AHK and

partners, it should also be considered as a point in an ongoing inquiry, and we hope that it

will be scrutinized and further developed by a manifold of different users.

Objectives and Challenges

In order to narrow the project down, we decided not to look into representation of movement

/ body analysis or visualization of movement dynamics that underlie the structure of the

performance. For the transfer of EG|PC’s movement vocabulary and method, the installation

Double Skin / Double Mind and the video-registrations are, in our understanding, the instrument

suited for movement transfer. Thus. the model should be understood in addition to the

installation and video recordings. Although current documentation research in media art is

expanding to include user/spectator experience, in the scope of this project, we have not been

able to include the relevance and mapping methods used for this live element of media art.

Our focus was to develop a general documentation approach that would provide a framework to

structure the essential information required for a re-construction of an already existing work.


Rather than following artists during the process of producing a new work (sher (re-creation

approach), we traced and gathered information about a piece that has been, and still is, re-

performed by the company. This approach of course has effect on the type of information that has

found its way to the documentation model.

During the documentation process we realized that our background in contemporary fine arts

(rather than choreography and dance) was sometimes an advantage; e.g. in terms of transferring

experience in the documentation and conservation of contemporary art to contemporary dance,

and bringing in a ‘fresh eye’ on things. In terms of gathering and producing information

it, however, at times meant a drawback as we do not master the vocabulary and knowledge that

is necessary to complete the model according to the standard that we had initially set.

Sections at which we particularly found ourselves lacking the required background are for

example: movement material and dramaturgical analysis. Although we tried to compensate this by

consulting dance specialists from within and outside the IMK research project, we realize that

this type of information should be added to the model.

Another challenge was to develop a model that would provide insight into the artistic reasoning

and working process of EG|PC, but that would not limit itself to the work of EG|PC. Put

differently: the model is developed for capturing information on Extra Dry by EG|PC and should

also provide a framework that is fitting to capture other creative processes by the company as


well as outside of the company. To which extent the model succeeds in this goal, is a question

to be answered by future users.

Parameters of Change

Our research has focused on the type of information that would provide insight into the working

process of EG|PC and the realization of Extra Dry in order to arrive at a reconstruction.

Therefore, of keen interest for us was the reasoning behind significant changes in the sequence

of existing performances of Extra Dry. To gain more understanding in decision-making, we tried

to include information that would not only explain what is done, but also why it is done and

what the parameters of change are according to Emio Greco and Pieter Scholten as well as other

sources.5 For example: What is the role of the costumes and why is this particular kind of

material used for the costumes and why was this material chosen above others?

5 The model, in other words, tries to encompass both ‘know how’ and ‘know that’. ‘Know how’ is con-cerned with practical reason and doing and is related to tacit, practical knowledge, and skills as distinct from theoretical knowledge and reasoning. ‘Know that’ on the other hand is a knowledge of facts and information. (Ryle 1949).


Users and Usages

As our goal was to develop a generic model, we didn’t want to exclude any user-groups from the

outset. However, as the model developed we realized that although the model and its content may

be taken up by different user-groups, in order to better organize and prioritize information

we needed to decide on a focus-group. In line with the set-up of the IMK-research project we

therefore decided on the EG|PC Company as key user. This means that the model should first and

foremost fit within the goals of ICK; providing an information structure that may help the

company to document and reflect on their previous performances, containing specific documentation

of Extra Dry. Of course, the different objectives do not need to exclude each other.

The documentation model can be used as a tool for annotation in the sense that it offers a way

to describe a existing work, and provides a structure to order this information. In combination

with the score, the installation, and video-registrations it should provide inside knowledge

into the working process of EG|PC’s and the elements of Extra Dry that are considered crucial

to the sources that we consulted. The model is additional to the ICK-archive (which consists

of individual documents) in the sense that it structures the information in a different way

and with a distinct goal. Moreover, the model has also produced new materials and pieces of

information that were lacking from the archive.


Working Approach

The main objective for the NIMk team was to develop a model for documentation. Our goal

was to develop a model (graphically represented) that will then be tested and refined. As a

starting point, we first looked into existing methods of capturing media art and contemporary

dance performances, mediation for re-enactment and representation and parameters of change/

restrictions (what is possible, and what is not possible). Parallel to the undertaking of

capturing content we compared and evaluated documentation models already in use for capturing

media art.

Many of the models that we analysed reflect the transition that has taken place in the artform —

from object to process and context while acknowledging variability in time as essential elements

of a work. This corresponded, in our view, very well with the different phases and stages in

contemporary dance. What was extremely helpful in these recent documentation models was that

they consist of specific questions that focus on the parameters of change: How much changing

is allowed on the art before it becomes something else? These and other question helped us to

analyse and understand contemporary dance. Some question proved useful to get a grip on the

material we were dealing with, whereas others showed us our lack of inside knowledge in the

discipline. Most of all it helped us to see what was missing and where adjustments were needed

in order to develop a usable documentation model for contemporary dance.


Similarly, we explored existing methods and models, and dance analyse, notation and

reconstruction to find an optimum form to define, formulate and structure the relevant data.6

In terms of capturing Extra Dry, we proceeded by collecting, categorizing and classifying

relevant information derived from Extra Dry trough conducting interviews, literature research

and by comparing respective performances of Extra Dry. The core is formed by the vision of the

makers expressing what is important to Extra Dry. In this sense, the model can be considered

a hybrid: a combination of strategies to enable recreating the work. The information sources

can be categorized in several layers. Ideally these layers are graphically represented and

connections can be made between the different layers. The hierarchy between the different levels

is made visible by graphic representation:

� First layer: information from interviews with Emio Greco, Pieter C. Scholten,

Bertha Bermudez, Barbara Meneses, and Paul Beumer conducted by NIMk team7;

�� Second layer: information from the ICK website and other ICK sources;

�� Third layer: information from interviews with Emio and Pieter conducted by others;

�� Fourth layer: information from secondary literature.

6 For a more detailed description of our working approach, see the NIMk research team contributions in Notation, Amsterdam School of the Arts 2010, pp. 15–27.7 Interview quotes have been slightly adjusted to approve legibility.


Structure of the Model8

In the first chapter, the company and work of EG|PC are introduced. The aim of the chapter is to

provide insight into the context in which Extra Dry is conceived and performed. In addition to

information on the collaboration between Emio Greco and Pieter C. Scholten, their oeuvre, the

company and its activities, this section also seeks to provide insight into several concepts

and building bricks that are considered of key importance to EG|PC.

Chapter two zooms into Extra Dry and elaborates on its origins as part of a trilogy. The

chapter starts with a detailed work-description and provides several readings/interpretations

of the work by means of reviews and analysis. The structure of Extra Dry is mentioned and

the positioning of the piece in EG|PC’s repertoire. Special attention is paid to the Seven

Necessities in relation to Extra Dry.

In order to provide insight into the creative process and artistic reasoning, chapter three

attempts to reconstruct the choices and decisions made during this process. To understand the

parameters of what can change and what not — in other words: what is considered essential

to Extra Dry — the respective performances of Extra Dry have been compared with a focus on:

(choice of) dancers, space, time, and audience relationship.

8 For practical reasons we have chosen to start with a linear text-based documentation model. Designer Stephen Serrato will explore the possibilities of transforming the collected data into a more accessible format.


In chapter four we explore what is considered crucial to future reconstructions /re-

articulations of Extra Dry. The chapter focuses on the preparation phase. This information

may be of particular interest to dancers and technicians. The last chapter elaborates on the

scenographical elements of Extra Dry.

Evaluation and Further Research

It will come as no surprise that our current approach is already quite time consuming. We

are very much aware that such an approach is most likely not feasible for small companies or

emerging choreographers, nevertheless it may help to document and reflect on their own working

process. Interestingly, the model has already proved to be useful in terms of providing insight

on what information is still lacking with regard to Extra Dry. Also, the model has helped to

specify and formulate questions that were then posed to EG/PC. In this sense the model can be

regarded as a tool; as a document that allows for further conversation, creating a working-

document that encourages and deepens mutual inquiries.

At this moment in time the model has not yet been tested in relation to an actual

reconstruction of Extra Dry by EG/PC or others. However, members of the feedback group have


already mentioned the following user-possibilities: as a model to document other choreographies

by EG/PC, as a documentation model to be used for choreographies by other choreographers,

as information source for students working with and learning from EG/PC. Recognizing the

importance of documentation for contemporary dance, we hope that by defining crucial categories

and opening up our methodologies, the current model can contribute to working towards an

accessible and workable format that can be used by others.


IMK Documentation Model

IMK Documentation Model



“Our work is based on friction. It’s a continuous discussion.”Interview with EG|PC by NIMk team 16.04.2009


In this first chapter, the company and work of EG|PC shall be

introduced. The aim of the chapter is to provide insight into the

context in which Extra Dry is conceived and performed. In addition

to information on the collaboration between Emio Greco and Pieter C.

Scholten, their oeuvre, the company and its activities, this section

also seeks to provide insight into several concepts and building bricks

that are considered of key importance to EG|PC.

1.1 EG|PC The company

Emio Greco | PC was founded in 1996. It is more than a dance company: the company

promotes a broader attitude towards the consciousness of the body. It initiated a series

of Salons on Dance & Discourse, established a section devoted to research on recording

and notation of body movement and developed an educational program under the name of

Accademia Mobile. EG|PC regularly invites artists from their own and other disciplines to

take part in a valuable dialogue. In the past years, Emio Greco and Pieter C. Scholten have

stepped back from making purely dance-centered work to direct their attention to theatre,

film and opera as well as contemporary music, always with dance as their point of refer-

ence.

�� ICK website, August 2010

1.1.1 The International Choreographic Arts Centre Amsterdam

ICKamsterdam is an initiative by choreographers Emio Greco and Pieter C. Scholten: an

interdisciplinary and international workplace for prospective and established talent. From

the starting-point of dance, ICKamsterdam strives for the continuous development and

enrichment of dance as well as other art forms. ICKamsterdam is intended as a dialecti-

cal space, with residents and passers-by who interrelate through communication, con-

frontation and exchange, with ideas, schemes, known and unknown projects. Central to

ICKamsterdam are the seven pillars such as artistic productions, talent development and

1. Context

IMK Documentation ModelPage 23 of 75 <Context>

knowledge transfer, reflection and research, innovation and alliance. It also houses dance

company Emio Greco | PC.


Much of their work precludes habits in the dance and at the social framework in the prac-

tice of dance sound. It led them to the path of the multidisciplinary exchange.

�� Purgatorio Popopera, epiloog Mestreech door Fransien van der

Putt, oktober 2008

1.1.2 Salons

Since January 2003 Emio Greco | PC has regularly organized informal gatherings devoted

to discussing and debating dance and the wider field of the arts. Journalists, art critics,

academics and artists have attended these Salons to exchange ideas and express their

views on the existing notions of art criticism and dance discourse. At the invitation of

EG|PC, essays were written by various authors in order to set off the discussions, and in

reaction other articles have appeared in diverse papers and magazines.

The Salon topics have ranged from specific dance related issues, like notation and

archiving of contemporary dance, to the more general discussion of art criticism.

�� ICK website, September 2010

1.2 Emio Greco I Pieter Scholten9

Emio Greco and Pieter C. Scholten have collaborated in their joint search for new dance

forms since 1995. They found a strong common interest in the possibility of a dance seen

as the expression of a visionary body, with the theatrical space as the external influence on

that body. In their performances, dance is regarded as autonomous, and capable of creat-

ing its own time and space. Dance is never brought into action as a medium for conveying,

nor for dressing a theatrical space. Instead, dance is perceived as possessing an inherent

logic, by which it is able to express the intelligence of the body without needing the addi-

tion of meaning or explication. All the elements of a performance – the space, the lighting,

the sound – are applied throughout the working process with a view to eliciting from the

body the impulses that are driving its self-examination.


1.2.1 Collaboration between EG|PC

PC: Officially, I’m not a dramaturge. It’s mentioned because, since the 90s, when a chore-

ographer works with a person with a theatrical background, then it is directly called a

dramaturge. I started as theatre director and maybe a sort of dramaturge for choreog-

raphers more linked with dance theatre. But directly at the moment we worked to-

gether, it was a sort of equal way of working; to go through a whole process from the

beginning towards the end. Over the years, I experienced going into the choreography

field in the sense of the level that I could reach the body from the inside. And Emio,

on the other hand, goes from the experience; less inside to more from the outside. It’s

going to touch a director’s eye, to call it like that, someone who can just see it from

the outside and intervene from the outside.

EG: At the same time, I started to realise oh, my God, this is so big, how are we going to

contain this? How can you structure it? Because different than Pieter, I always keep

changing and I have more of a tendency to create more instead of reducing, more of a

tendency to keep going instead of putting structure. There is a structure in the move-

ment, there is a logic. Everything that I create is a very articulated voice, the body

9 For biographies, see: Appendix 1


speaks. But my tendency is never (…), I would never by myself put it in a frame. After

a few months I met Pieter and it was exactly what it was; that kind of need of organis-

ing all those chaotic things and to try to describe. Because it was dance but the word

around it was bigger than just body movement.

� Interview with EG and PC by NIMk team 16.04.2009

Het oeuvre van Eg|Pc wordt nu juist gekenmerkt door pogingen om deze globale kijk op

mensen te doorbreken. Het zijn de details in het lichaam en in de persoonlijkheid van de

danser die er toe toen. Het is de individuele inzet die het verschil maakt en de happening

veroorzaken.

Het werk van Eg|Pc gaat dus niet om de ultieme fysieke prestatie, het is geen sport,

al komt het dicht in de buurt. Het gaat ook niet om de ultieme verbeelding, het zijn geen

ideale lichamen in ideale rollen, die u als toeschouwer voor een moment uw eigen lichaam,

misschien wat uitgezakt of juist al te opgepimpt, doen vergeten. In hun werk spreken Eg|Pc

uw lichaam, dat vat vol frustraties, ambities, tegenstrijdigheden en verlangens, verworven-

heden en tekorten aan en brengen het stilaan in beweging. Dramatische licht- of geluidsef-

fecten prikkelen de zintuigen, de intensiteit van de dans overspoelt de toeschouwer met

indrukken en langzaam raakt je als toeschouwer de controle kwijt. Door het effect van de

danser en de dans bij tijd en wijle terug te brengen tot bijna niets, wordt de toeschouwer

ook op zichzelf terug geworpen. Je mag het zelf gaan uitzoeken. Tien jaar eerder, in 1996,

begonnen Emio Greco en Pieter C. Scholten hun samenwerking met een solo en een ma-

nifest. Bianco heette de eerste voorstelling: beginnen bij het begin, wars van technisch

vernuft of theatrale pretenties, maar bezeten door de noodzaak om de complexiteit van de

fysieke ervaring centraal te stellen in de dans. Alles halen uit dat ene lichaam met slechts

een aantal principes op zak, geformuleerd in het manifest. Dans moet volgens Greco en

Scholten meer zijn dan esthetische lichaamsvormen op muziek. Het gaat om het vermogen

van de danser om via zijn lichaam de wereld anders waar te nemen en dit te delen met

een publiek. Je lichaam tot het uiterste drijven, niet om hoogstandjes te vertonen maar

om nieuwe ervaringen op te doen. De esthetische controle over het lichaam opgeven en in

plaats daarvan een innerlijke helderheid zoeken, een logica van vlees en bloed; noem het

intuïtie, instinct, speelsheid, onderbewustzijn of zelf-inzicht. Het is niet het soort controle

dat men gewoon is in de dans. Yoga en ademhalingsoefeningen liggen aan de basis van het

werk dat u hebt gezien. Niet de blikken van anderen en in spiegels bepalen de gang over

het podium, maar een voortdurend zoeken naar innerlijke rust en het uiting geven aan de

zaken die de rust verstoren.


Putt, oktober 2008

← Video stills from an interview with Emio Greco | PC / ↑ Artist interview scenario developed by the ICN and SBMK during a pilot interview project (1998-1999), source: www.incca.org/files/pdf/projects_archive/1999_concept_scenario_artist_interviews.pdf


1.3 Artistic Team Extra Dry

Choreographer / Direction

Emio Greco / Pieter C. Scholten

Lighting, Set, Sound Concept

Emio Greco / Pieter C. Scholten

Lighting Design

Henk Danner

Costume Design

Clifford Portier

Realisation of Sound Collage

Wim Selles

Production

Emio Greco | PC

Co-production

Kaaitheater, Brussels (B), Tanzwerkstatt Berlin

D), Klapstuk Festival, Leuven (B), Springdance, Utrecht (NL)

�� Extra Dry

1.4 Important concepts

1.4.1 The Seven Necessities

In 1996 Emio Greco and Pieter C. Scholten wrote their artistic manifest Les sept néces-

sités. This ‘dogma’, of which the articles are stated in French – “because Il faut que… so

much more strongly expresses necessity” – is an attempt to capture dance in words. In the

manifest they laid the basis for a dance language that goes back to the inner necessities of

the dancing body, an inner awareness of time and space that is stored in the deep memory

of the body. Today, the manifest has not been diminished in currency or relevance and it

still serves as a source of inspiration for the continuous development and deepening under-

standing of the work

1. Il faut que je vous dise que mon corps est curieux de tout et moi: je suis mon corps

It is necessary for me to tell you that my body is curious about everything

and I am my body

2. Il faut que je vous dise que je ne suis pas seul

It is necessary for me to tell you that I am not alone

3. Il faut que je vous dise que je peux contrôler mon corps et en même temps jouer avec lui

It is necessary for me to tell you that I can control my body and play with it at the

same time

4. Il faut que je vous dise que mon corps m’échappe

It is necessary for me to tell you that my body is escaping

5. Il faut que je vous dise que je peux multiplier mon corps

It is necessary for me to tell you that I can multiply my body

6. Il faut que je vous dise qu’il faut que vous tourniez la tête

It is necessary for me to tell you that you have to turn your head

7. Il faut que je vous dise que je vous abandonne et que je vous laisse ma statue It is

necessary for me to tell you that I am leaving you and I am giving you my statue

�� ICK website, oktober 2009


1.4.2 Implications of the Seven Necessities

PC: Somewhere in 1995 it started, if you talk about documentation, it was time for me to

find ways to document the body of Emio with all its possibilities as it was a potential,

incredibly rich. Where to start? It could go everywhere in this kind of quality. You have

to start somewhere and I did it in seven directions. And we still profit from that first

moment and from there came the special statements manifest. I still structure eve-

rything in seven parts. It is just a starting point, but it’s good to enclose it and that’s

also the trick of it. And from there, you have to break it open again, and that creates

tension the whole time which means a lot of creativity and a lot of possibilities. It’s

continuously in discussion, so you continue to have to motivate yourself: why these

seven directions, why these seven possibilities, why these seven qualities?

PC: It’s also in all this work, the internal logic was the most important from the dance

fragments, also to keep that quality. So it doesn’t allow you to do just whatever you

want with it. That’s why also at the end of phase two10, this internal logic is so logical

already, so you cannot, it’s very, well, sometimes it’s happens that we put something

in another order, but it’s three weeks more work to find, again, a logic through these

replacements. It’s [unclear] okay, that’s better because we put it there. But that does

have an effect on everything that follows after and also before.

� Interview EG and PC by NIMk team 16.04.2009

10 Fase two in the creative process.

1.4.3 Glossary

Emio Greco I Pieter C. Scholten: Synchronicity is a word coined by the Swiss psycholo-

gist Carl Jung to describe the “temporally coincident occurrences of causal events.” Jung

spoke of synchronicity as an “a causal connecting principle” (i.e. a pattern of connection

that cannot be explained by direct causality). Plainly put, it is the experience of having

two (or more) things happen coincidentally in a manner that is meaningful to the person or

persons experiencing them, where that meaning suggests an underlying pattern.

Source: Gaby Wijers

Unisono synchronicity

Two entities juxtaposed to see what may happen, what may be possible in the way of

crossovers, where the specific loses its outline and where it unmistakably distinguishes

itself from its counterpart. In Bianco and Rosso the body of one dancer spanned the

duality of body and mind and took up [?] In the space between the two, the interspace,

the twilight area between the poles. The duality of the land I and the not-I, subject and

object, consciousness and existence, body and mind, the profane and the sacred. Extra Dry

marked the beginning of multiplication: the duality made visible by the two dancers on the

stage. And even when a complete unisono synchronicity in dance and movement seems

to be occur, there is never complete unity. The more synchronicity there is, the more the

individuality of the dancers is emphasized.

PC: ‘When it is performed well, as a synchronous unisono journey of a set of dancers on

the stage, then it becomes like a single breath, but with a clear-cut view of the charac-

teristics of each individual dancer.’

�� The wake-up calls of Emio Greco and Pieter C. Scholten, Gabriel

Smeets, Amsterdam Augustus 2004

Unity duality multiplicity

Besides being a given fact, duality is also a basic precondition for the creative process of

Greco and Scholten. It is in this interspace that new things are created.


PC: ‘There is a constant friction between the elements. Dance and lighting, lighting and

music, music and dance. Unity does not exist, though you may reach for it. If unity

were to be achieved, the work would be impossible. That aspiration and that friction

are recurring elements in our work. Neither Emio nor I constitute a unity. Our collabo-

ration is based on friction.’

EG: ‘Duality marks the first fission of the entity. That first division, that first great separa-

tion, that is gigantic. Unity is broken and fragmentation has set in. What follows is

multiplication, repetition. We are programmed to aspire to unification, in the knowl-

edge that we shall never accomplish it. Such is life. The desire of oneness is the driving

force.’



Extremalisme

EG: ‘Ja, die term is voor het eerst in de mond genomen door de franse theaterdirceteur

Francois le Pillouër, na het zien van Extra Dry in Rennes, Bretagne. Zelf komt hij uit het

theater – hij is overigens erg politiek geëngageerd – en is niet erg dol op dans, hij is er

zelfs erg sceptisch over. In ons werk herkende hij een ‘extremalistische’ component,

een samentrekking van extremisme en minimalisme. Het werk bevat aan de ene kant

hele extreme elementen; extreem in hoe ze in de ruimte geplaatst zijn, hoe ze met de

tijd omgaan en met intensiteit, hoe ze zich verhouden tot het publiek. Aan de andere

kant zijn er pure, ‘minimalistische’ factoren in het spel: het lichaam dat volstaat in zijn

beweging, zonder omkleding van verhaal of mathematische patronen. Daarin toont ons

werk het plezier, de triomf van het lichaam. De term ‘extremalisme’ is op zich een erg

goede interpretatie van ons werk en daarom hebben we de term geadopteerd.’

�� De triomf van het lichaam, Programma van het Holland Festival,

Rimasto Orfano 12–12 juni 2002 interview Lonneke Kok.

Engagement

PC: ‘Ik denk dat de manier waarop wij dingen benaderen, waarop wij de mogelijkheden van

het lichaam onderzoeken en ontwikkelen, in zichzelf een vorm van engagement is. Het

leidt tot een verregaande emancipatie van het lichaam en maakt het onbekende voel-

baar dat achter lichamelijkheid schuil gaat. Het stuk Extra Dry (1999) bijvoorbeeld is

een statement over synchroniciteit; een beladen fenomeen in de danskunst. Daar komt

wel degelijk een bepaalde visie naar boven. maar je kunt niet zeggen dat het over twee

mensen gaat die elkaar niet meer leuk vinden en elkaar dan weer terugvinden...’

�� De triomf van het lichaam, Programma van het Holland Festival,

Rimasto Orfano 12–12 juni 2002 interview Lonneke Kok.


After sketching the context and oeuvre of EG and PC, chapter two zooms

into Extra Dry and elaborates on its origins as part of a trilogy. The

chapter starts of with a detailed work-description and provides several

readings/interpretations of the work by means of reviews and analysis.

The structure of Extra Dry is mentioned and the positioning of the

piece in EG|PC’s repertoire. A large part is dedicated to the Seven

Necessities in relation to Extra Dry. These Seven Necessities form an

important underlying drive for EG and PC and therefore deserve special

attention.

2.1 Description of the work

2.1.1 Fra Cervello e Movimento: Extra Dry

Fra Cervello e Movimento is a set of three performances; two solos, Bianco and Rosso, and

a ‘ solo for two’ Extra Dry. This trilogy investigate the dyad brain (cervello) and movement

(moviment); a mind that wishes to control and a body that is curious for new sensations.

The motive is the interest towards the reactions that inner impulses impose on the body.

How can the body surpass its limitations? How open can it be in its responses and what

kind of transformations can it take on? It was only after Rosso that the idea of a trilogy

began to form; Bianco and Rosso belonged together and the thought occurred to have

them followed by a third part. On a request by dance festival CaDance in the Hague, Greco

and Scholten [together with Bermudez] first created the performance Double Points: Two.

For the first time a duet, for the first time a choreography. It marked the overture as well

as the preliminary investigation for Extra Dry.



2. The Work

IMK Documentation ModelPage 29 of 75 <The Work>

After the solo’s Bianco and Rosso, Extra Dry (premiere 30-3-1999, Kaaitheater Brussels,

Belgium) is performed with two dancers. Starting with the male dancers Emio Greco and

Andy deNys, it was performed almost 50 times in Europe; Belgium, The Netherlands (pre-

miere Springdance 15-4-1999) Austria, France, Russia a.o. From 25-5-2000 on Barbara

Meneses replaces deNijs and until 2006, and Extra Dry is performed around 45 times

touring trough the USA and Italy a.o. In 2004 the three parts of the trilogy are performed

together again. On the 4th of February 2006 Meneses rol is performed by Sawami Fukuoka

and Nicola Monaco, performing together with Emio Greco and one more year Extra Dry is

performed by a male and female dancer(s) (ca. 12 performances). A new cast is introduced

in August 2007 and is three months performed in a male cast by Vincent Colomes, Emio

Greco and Nicola Monaco. On the occasion of Extra Dry’s 10th anniversary it was for the

first time performed (2x) without Greco but with Ty Boomershine and Victor Callens. Since

2009 Victor Callens and Vincent Colomes perform Extra Dry, ca. 10 performances took

place since. With the changing cast over time the experience of Extra Dry changed, the

scenography did not.

�� Substract from EG|PC’s archive (GW)

After the solo’s Bianco and Rosso, Extra Dry is performed with two dancers. Extra Dry is

an investigation into simultaneity: the synchronous movement. Moving from the explosive

to the exploratory in the search for oneness, the two bodies breach invisible boundaries.

The perfectly controlling mind, subjecting the body to the will of the dancer, is confronted

by the body’s resistance to obey.

In Extra Dry, the third part of the trilogy Fra Cervello e Movimento (between brain and

movement): -bianco-, ROSSO, EXTRA DRY) the isolation brought along by the previous

solos is broken through. Starting point is the urge to physical interaction.


2.1.2 Title

EG: For Extra Dry it’s also interesting because the piece got the life because of the name.

That was also one of the things that happened a few times. Because Extra Dry isn’t

anything, but just the words make the piece, just two small words. They we’re so

strong, that was enough to make it what you saw. Of course there were some bodies

behind, but the concept was just the name.

PC: After Bianco and Rosso everybody thought now it becomes blue. So to counteract

that, we just came with Extra Dry and went to another cycle. The funny thing is that

with Extra Dry, it gets a logic. Extra Dry became gold, it became gold. Extra Dry, the

water out, to see the reason that the sweat comes out. So it completely fitted and it’s,

in a way, accidental. It happens that, as Emio said, the title is completely the piece.

EG: Its sacral and profane, and gave this perception of difference, the most symbolic and

recognizable concept of dance is the duet we did it in a totally diffferent way.


Waarom goud? Choreograaf en danser Emio Greco hoeft niet lang na te denken over

het antwoord. De kleur heeft precies de uitstraling die hij zocht, omdat die tegenstrijdige

beelden oproept. Goud is warm en glanzend, barok, duur, mysterieus en sierlijk. Maar ook

metalig, hard, koud en afstandelijk. Die dubbelheid is de basis van ‘Extra Dry’, dat de vorm

kreeg van een duet. De choreografie combineert volgens Greco het sacrale en het profane,

het verhevene en het prozaïsche. Beide aspecten van een beweging helpen de mens te

transformeren tot iets wat het menselijke overstijgt, legt hij uit. En om die transformatie is

het de choreograaf te doen. Illusie is een belangrijk element van de transformatie die Greco

met zijn dans wil bewerkstelligen. Ook wat dat betreft is zijn kleurkeuze treffend. Goud

staat tenslotte ook voor goedkope glitter of sprookjesachtige tovenarij.

‘Extra Dry’ begint met een korte helwitte lichtflits. Een fractie van een seconde zie

je een in het wit geklede man op het podium staan. Als een magiër aan het begin van een

seance. Na nog een flits staat er ineens een tweede danser (Andy Deneys) tegenover hem.

In een volgende scène lijken beide dansers op wonderbaarlijke wijze samen te vloeien tot

een lichaam dat met beheerste, langzame bewegingen van houding verandert en dan over

meer dan tweearmen blijkt te beschikken. Toverij die je hersenen prikkelt te geloven wat je

ogen zien; een illusie.


Een moment later in de voorstelling levert een soortgelijke ervaring op. Oorverdovend

harde muziek van Vivaldi vormt een scherm van geluid tussen publiek en podium, wat een

hallucinerende werking heeft.

De dansers, die in een veel sneller tempo zijn gaan bewegen, lijken zich op een ander

werkelijkheidsniveau te bevinden, alsof de realiteit zich heeft verdicht. Net als de lichtflits

in het begin creëert de ‘herrie’ een moment van helder inzicht.

�� Emio Greco kiest voor goud door Willemijn in ‘t Veld In: Veluws

Dagblad, 7-4-1999

Net als bij ‘bianco’ en ‘ROSSO’ is ook hier de bühne opgevat als een box. De weliswaar

doorlaatbare wanden ervan worden niet ongestraft doorbroken. Na een poging vallen

de dansers als levenloos op de grond, terwijl in de verte het geluid van vuurwerk of van

geweerschoten te horen is. Talrijk zijn de momenten waarop Greco en Deneys naar boven

staren, als viel daar iets te zoeken- of te vrezen (de bombardementen zijn slechts en 1500

km van Brussel verwijderd). Het dient gezegd: voor het bereiken van zijn indrukwekkend

effect krijgt de dans in ‘Extra Dry’ veel versterking van de geluidsmontage van Wim Selles

en het licht van Henk Danner. Dat doet echter geen afbreuk aan de imposante kwaliteiten

van de dans zelf. Zoals steeds oogt Greco – maar ook zijn compagnon- op een knappe

technische beheersing. Elk detail vormt een goudkorrel in het geheel. En het mooiste is dat

Greco zelf daarom eeuwig verwonderd lijkt.

�� Als twee lepeltjes door Clara van den Broek In: De Morgen 8-9-99

2.2 Structure of Extra Dry

Extra Dry’s

Structure

2 parts

7 sections

Scenes

Containing

Intermediate elements Movement phrases

Punctuated byInteract withDefined by

Cues

Actions Qualities

Body parts Intentions

FormsTime space

Is divided in

Containing

Each section has

Articulated by


2.2.1 Performance Structure

PC: Extra dry is a choreographed “road dance.”

The piece is divided into to 2 main bodies (parts) containing 7 sections. The division of

each section is related to a specific concept that influences the treatment of time, space

and the relationship of the two dancers. Even when they are together, their relation chang-

es. At the same time each section has different scenes that contain movement phrases and

inter-medial elements. These elements are light, sound, costumes, set, other dancers and

the public and are defined by the specific use of time and space parameters. The different

inter-medial elements interact with movement phrases through cues. These cues punctuate

the movement phrases providing them with different dynamics, tempo and inner structure.

At the same time movement phrases are articulated by actions, qualities, the use of differ-

ent body parts, intentions and generated forms.

Movement phrases are individual small structures that later become part of the piece.

These phrases have a beginning, end, concept, quality and often a name. The idea is to first

get acquainted with the movement material and its specificity to later find their “life” within

the different sections of the structure. This means that there are always two layers to pay

attention to while dancing, the quality of the movement phrases and their role and meaning

within the structure. The main performative differences between part 1 and 2 are:

i) the relationship between the dancers, being the physical distance or proximity be-

tween them an essential factor and

ii) the type of movement material created.

Part 1 consisting of five sections, most of the dance material, are constructed patterned

phrases (that need of rehearsal). The dancers are constantly together, side by side, discov-

ering the space through different dance material. A strong relation with the light is settled

during this part, being the light the element that defines together with the dance the space

in which actions occur or may have occurred.

Part 2 consists of two sections where the dancers are mainly separated in space long-

ing for the possible reunion. The dancer is in this part of the performance requested to

improvise within specific parameters or to use an agreed concept to transform previously

learned movement. Some dance phrases are used within this part as an important refer-

ence of the performance theme (synchronization) to be freely reorganized by the dancer.

Another distinction is the treatment of the concept of synchronization, represented by

the inter-relation of the dancers with the space and with each other. The dancers are re-

quested to search individually their own path to find within a spatial distance possible ways

of synchronization.

The following structure provides the given names of the main parts of Extra Dry. Being

done in 1999 during the creative process this structure has been developed and changed.

The most important characteristic is the freedom of use of the syn words, allowing the

order to be modified and also to integrate at different moments different concepts. The

idea of structure is not used as something fixed but as a potential, a proposal that can be

followed and or ignored.

�� On notating Extra Dry, Bertha Bermudez and Barbara Meneses

2009/2010


2.2.2 Extra Dry Parts

0 Opening of affairs → Longing for the other (intro)

1 Synchronicity / Unisono

Coincidation in time of two more or less causal connected actions

with similar meaning

2 Syncope / Two trains passing eachother

(the accent changes) the accents moves by connecting to the next heavy to

the previous weak or light part, either in the same or in the next beat

3 Synergie / Corps de ballet

Increased functioning by a combination of different means

4 Syncretisme / Rum Cola

Phenomena in mixing religious (re)presentations and rites from different ori-

gin into a new religious form

5 Synergy / Prime minister of Italy versus the pope

Coorperation between church and state / between faith and ration

6 Synchronisation / similarity

Coincidation in time, simultaneous passing by, total agreement between fric-

tion, phase and frequency.

7 Synthese / The best of

Connection of separated elements into a new whole

�� Text by Pieter Scholten translation GW

2.3 Meanings of the work

EG: ‘To choreograph that moment. That’s why the work became so specific, because we

really departure again from a situation of a body. What we call intention, and to ar-

ticulate the way that then could be shared. Also for the second one. Then we tried to

make it very interesting for Bertha, an intriguing situation. The state of the body was

already very challenging to communicate. Then we did just a half hour piece, and from

this we went to extra dry. Which again was further articulated, the end of the trilogy.

[…]

What was useful was more the transfer that we did with that, a further step towards

Andy, and Barbara. To think choreography in another way. And we choose this parallel

existence because we were already totally against composition, and the traditional way

to consider choreography. That choreography exists when different people dislocate

in a space, because they are more than this choreography. This is such a conserva-

tive way of thinking, so we say the choreography is in one person. And one person

can contain the whole choreography. If there are two persons, both they contain the

same choreography, but they try to keep it in this kind of straight line, they connect

each other mentally and physically, both they carry the same choreography, and state

of mind and body. A lot of challenge, physically and mentally, emotionally. And to this

challenge things emerge completely. Just nice to observe, then you see the person,

and not only the dance, the dancer and the choreography. So it’s really about people,

about the person, and from there (…). There are people who carry a certain choreog-

raphy, but there is no choreography which is closing, wrapping the person. And today

this is still the way we consider the dancer.’



2.3.1 Fra Cervelle e Movimiento

Fra Cervello e Movimento is a set of three performances; two solos, Bianco and Rosso, and

a ‘ solo for two’ Extra Dry. This trilogy investigate the dyad brain (cervello) and movement

(moviment); a mind that wishes to control and a body that is curious for new sensations.

The motive is the interest towards the reactions that inner impulses impose on the body.

How can the body surpass its limitations? How open ca it be in its responses and what kind

of transformations can it take on?

It was only after Rosso that the idea of a trilogy began to form; Bianco and Rosso

belonged together and the thought occurred to have them followed by a third part. On a

request by dance festival CaDance in the Hague, Greco and Scholten first created the per-

formance Double Points: Two. For the first time a duet, for the first time a choreography. It

marked the overture as well as the preliminary investigation for Extra Dry.

No strategy, no course. One thing follows from another. A continuing investigation of

how far you can go. After Rimasto Orfana (reflection on their own work(GW) there was

a desire to leave the path of dance. Double Point: Bertha – The Bermudez Triangle came

about, a portrait of dancer Bertha Bermudez Pascual, developed together with dance critic

Helmut Ploebst. Teorama followed, an adaptation for the theatre of Pasolini’s book and film

of the same title in collaboration with Toneelgroep Amsterdam. Then came Orfeo ed Eurid-

ice the opera. Reprise of Fra Cervello e Movimento.



2.3.2 Extra Dry

PC: I think Bianco, Rosso and especially Extra Dry has a certain quality which goes quite

far which I don’t think we reached anymore in the other pieces. Of course, something

came instead I’m sure, but this was, it was quite a drive which brought us there.


EG: Because there where part 1 and 2. […]

PC: Extra Dry is an anchor point. It is the beginning of the work. There are a few lines

coming together. A piece that is perceived as important piece on different levels, from

out of the dance field, and the discipline. It speaks to people, very communicative. It

is an anchor point for us, because its is two/three years from the beginning period. So

all our visions, ideas of the seven necessities translated in movement and dance direc-

tion come together in that piece. It is still also a source. That makes it difference from

One and Two, that it became such an anchor point. I think every artist can say, “this is

really my anchor point”. A piece where suddenly things come together, and that makes

it such an important piece, from the different sides. It communicates, it is a pleasure

to see, and it has a certain quality. It is important for the art form. And that is less with

One and Two.

EG: I think we managed to capture the urgency, of all of our dance, and to trap, frame in

a choreography. That is the main challenge, because now, we think, how are we going

to keep alive this urgency, so that it doesn’t kill the form. When you kill the form the

urgency is gone.


Samen met danseres Bertha Bermudez deden Greco en Scholten een voorstudie voor Extra

Dry, het derde deel van de triologie Fra Cervello e Movimento. In deze voorstudie, Double-

points: two, zetten Greco en Scholten een belangrijke volgende stap in hun ontwikkeling.

De vragen uit de solo’s werden breder getrokken. Waar sta ik ten opzichte van de ander,

wat betekent de ruimte tussen ons, wat botst daar, wat zijn de verschillen en hoe gaan we

daar mee om. Het klinkt allemaal niet erg dans-achtig, maar het grappige is dat in dans


eigenlijk zelden de vraag wordt gesteld hoe je samen beweegt. Het wordt als vanzelfspre-

kend verondersteld. Dans gaat vaak over andere dingen dan de concrete dansers die op het

podium de klus moeten klaren. Zij stellen zich in dienst van een fysieke rol, zij voeren die

uit, soms symbolisch en liefst subliem. Maar dat vanzelfsprekende samengaan van lichamen

is natuurlijk verre van reëel, of in ieder geval uiterst zeldzaam, ook onder dansers.

Greco en Scholten besloten daarom geen theatrale middelen te gebruiken om de frictie

tussen mensen zichtbaar te maken. Verschil, verlies of tekort (maar ook plezier, voldoening

en samenhorigheid) moest zich in de beweging zelf manifesteren en niet via een of andere

gedanste rol. De lichaamstaal van Emio Greco, ontwikkeld in de solo’s, bleef uitgangspunt

en Bermudez werd gevraagd in deze taal mee te gaan. Synchroniseren heet dat in dansen

muziektermen. Daarmee werd van Bermudez eigenlijk het onmogelijke gevraagd. Niet alleen

heeft zij een heel ander lichaam dan Emio Greco, ze is ook een heel ander mens. Door Gre-

co’s bewegingstaal minutieus te volgen en een uur lang zoveel mogelijk één gezamenlijke

beweging te maken, ontstond een hele opmerkelijke synergie van overeenkomst en verschil.

Individuele trekken traden door de synchrone inzet van de bewegers juist aan het licht. Niet

uitvergoot, grotesk of symbolisch gemaakt, maar subtiel en kleinschalig.


Putt, oktober 2008

Greco’s work is not determined by clones, copies and duplicates, but by dis-unity, twins,

dualism, and dichotomy. They can be found in Bianco (1996) as well in Rosso (1997) or, ex-

plicitly so, in the trilogy’s third part, Extra Dry. This ‘piece for two’ (Greco), created in 1999,

an acting environment of characters presented as autonomous discusses questions of

synchronicity and independence. The trilogy tittle, Between Brain and movement, inverts

Cartesian dualism: the organ is named (not the mind inscribed in it), and the movement

(not the body to which it can be attributed). The ironical allusion to the Martini drink (bi-

anco, rosso, extra dry) rather seems to be associated with the opposite, the disappearance

of the body. ‘Il faut que je vous dise que je vous abandonne et que je vous laisse ma statue’,

is the last of the ‘seven necessities’ formulated by Greco and Scholten in a manifesto from

1996: ‘I have to tell you that I am leaving you, and that I am leaving you my statue. Conse-

quently, the starting point for Greco’s work is his own body and its abilities, which manifest

in an elaborate technique: ‘If we confront technique with rationality, we can say that the

technique also is the higher expression of the rationality. Moreover, technique is necessary

to organize the madness, and, in a way, to create the dialog with the observer.’ The mani-

festo identifies this as programmatical: ‘Il faut que je vous dise que je peux controler mon

corps et en meme temps jouer avec lui. It is a body that cannot be predefined but rather

conceives itself during the working process.’

The stage appears as a ‘profane’ negative to the ‘sacral’ ambivalence of the golden

walls in Extra Dry – where the performer is positioned similarly but introduced by harsh

lightning. The antagonists ‘sacral’ and ‘profane’ appear as leitmotiv in Greco’s and

Scholten’s work. The stage in Extra Dry equally refers to mundane and religious symbolic

content, to the kitsch and costliness of gold.’ The exposure of elements creates sacrality

and profanity’, says Greco. ‘In which fraction [of the piece]and how long you expose, and

even how long the movement is sustained, how often you repeat the movement and in

which context it recurs – this really is the interspace playing between sacred and profane.’

Although the body gets overdrawn by a certain kind of virtuosity, by the same token it is

profaned too, it twitches, fidgets, wriggles, falls, shaken, and tenses, until it becomes a

grotesque caricature. Here grow the resources for a meta-story anchored in the passion of

the human body’s history, in its transience, in the traumatic tradition of its abuse, its de-

struction, its being heroised and romanticized, in its ideological boycott, in the suppression

and the celebration of its spiritual abilities and instinctive desires, and finally in its becom-

ing economised and suppressed behind the layers of its representation.

Pieter C. Scholten notes: ‘The body is generally given a lot of attention; to its beauty,

its physique, its sculpture. These have the connotation of the body being stupid, set and

empty. We strive to add a dimension of individuality to the body, in order to make it speak,

in order to release the visionary within.’ With this, EmioGreco, who began with the ballet

and later danced with Jan Fabre and Saburi Teshigaware, has gone a long way, and witch

incredible speed has created an ‘extra room’ between past and future for himself. Since

1996 he has been working – ’without Pieter I could never decide to call a work finished’ –

in a dual system. Greco and Scholten make the body visible again, and help it achieve new

liveliness, between dirt and gold, way of the Cross and ‘hoppy on akkant of his joyicity.’ fra

cervello e movimento.

�� Emio Greco / Pieter C Scholten duits/engelse tekst met de

7 necessities lit opg nakijken


Het vertrekpunt van Greco is het lichaam zelf en niet de choreografie. Hij ziet het als een

kleurrijk toetsenbord, waarvan de toetsen een keur van emotionele mogelijkheden bevatten

die versterkt worden door de muziek, het geluid en het licht, om de verhalen en de teksten

die in het lichaam sluimeren tot leven te brengen, waarbij de compositie het resultaat vormt

en niet het beginpunt. Ook Extra Dry is weliswaar weer een solo, maar geconcipieerd voor

twee uitvoerenden en de relatie tot elkaar, die een enorme intensiteit, warmte en glans

vertoont: het is ook de eerste choreografie waarin het karakteristieke lichaam van Emio

Greco, met zijn expressieve kracht, lijdend en intens, een ander lichaam ontmoet, ditmaal

het vrouwelijke lichaam van de formidabele Barbara Meneses Gutierrez, waarmee hij den-

kbeeldige barrières slecht: nu eens dankzij een explosie van bewegingen, dan weer verstild

door zijn weloverwogen aftasten. De paarvorming geschiedt koortsachtig maar vaak op

afstand (dit is een paar van het 3e millennium en het raakt elkaar niet aan, het negeert het

sekseverschil door uniseks hemden te dragen) De begeleidende muziek is van Wil Selles

en is wel infernaal genoemd, maar wij denken dat hij geheel trouw aan de bekende lijn van

Greco en Scholten, de extreme gang van het spasmodische stuk waarnaar de titel Extra

Dry verwijst perfect binnendringt en de pogingen van verstilde wellust weet te treffen. Hij

wordt beschouwd als een van de weinige danskunstenaars die bezig zijn het aanzien van de

danscompositie te veranderen.

�� Teatro Comunale di Moderna Programma 04-12-2003 door Marinella

Guatterini vertaling Mies Panneman

An extraordinary exercise in stamina, control and concentration, Extra Dry created a primal

force field around itself. Its two dancers, who moved in hypnotic synchrony, yet rarely

touched, reacted to each other and to an imaginary environment as if their nerve ending

were on the surface of their skin. Every twitch, every repetitive skittering frenzy, every

sustained but highly alert stillness was filled with potent meaning and expectation.

�� Hedy Weiss in the Chicago Sun (3)

‘De solo’s Bianco en Rosso en het duet Extra Dry zijn al over de hele wereld gespeeld, maar

worden nu [sept/okt 04] voor het eerst achter elkaar uitgevoerd. De voorstellingenreeks

biedt het thuispubliek de gelegenheid om opnieuw kennis te maken met deze stukken en

vooral met de fascinerende kracht van Emio Greco. De solo’s tonen zoals ze 9 jaar geleden

zijn uitgevoerd, kan bijna niet, daarvoor is teveel gebeurd. Greco heeft zich als danser

verder ontwikkeld, de visie en de uitgangspunten van het duo zijn door de tijd heen gaan

verschuiven. ‘Het is geen terugkeren, eerder een bezinning op ons werk’, zegt Greco. ‘Het

publiek krijgt straks reflectie te zien, waar al onze invloeden en ervaringen van de afgelopen

jaren op een of andere manier zijn terug te vinden.’

�� I. Starts 2-10-2004 In: Elsevier

‘Zoals in veel werk van EGPC, gaat het in Extra Dry om het binnenwerk: het lichaam van die

danser in verhouding tot die andere danser. “Dit bij dit en toen?” schreef Dick Raaijmakers

in zijn Methode. Geen representatie, alhoewel een enkele soundbite of een terloops gebaar

dat wel eens doorbreekt, maar presentatie van presentatie, aanwezigstellen. De vraag is

dan natuurlijk, aanwezigstellen van wat?, maar daarover rept de dans zelden, ook eg en pc

houden er niet van. Het binnenwerk impliceert het belang van de voortgang re opvatting,

(zoals de voorgang het belang van het binnenwerk bewijst) maar benoemt die niet. Dat

doen de toeschouwers maar, is de gangbare opvatting, ieder voor zich of desnoods in fora

met zijn allen.’

�� “Is dit het? Is dit alles?” F. van der Putt, 22/9/2010


2.3.3 The Seven Necessities with regard to Extra Dry

PC: ‘A necessity, is an urge, also a life existence. An urge to express your vision, and ideas.

And the way we collaborate from the start, what the common ground is to develop

something is unknown. The only thing Emio could show was his necessity in a very

physical way. He would just take me to the studio and show me what was in his body.

And from my point of view, I got to structure it. I was intrigued. And from there you

go into the strange format of a performance. The necessity came from Bianco, Rosso,

and went further into Extra Dry. The main idea in Extra Dry, which was already hidden

in Rosso, was a second person.

PC: There are always seven parts. Extra Dry uses the seven necessities as the motive for a

structure. Through the working process it is a competition between a structure we put

on top of it, and a structure the piece has to tell us. So there is a flexibility. There is a

rigid way of the structure will be like this, and during the creation the piece should tell

us how it is going to be presented.

PC: One of the motives was also the word syn, so everything what had to do with syn,

synchronicity, all the syns. With every performance there is a wish of structure, but

then everything can happen, and we are always looking for new ways to name it and

to put it into a framework. And of course this word syn is very clear, as it has this ten-

sion with this unisono, just these two people. To keep the strength and quality of the

movement, we should find it in synchronicity. That means you embody a quality and

you carry it both, without that you try to find opposites, or different spaces. There was

the unisono, synergy, two trains passing each other. Then de ‘code de ballet’ synchre-

tisme. The synergy, the rum cola, which means that if you have your cola and put your

rum you still have these two fluids that are mixing, but still you catch the rum and then

you catch the cola.


2.3.4 Significance of Extra Dry

EG: For me, I am inspired, surprised that its essential totally contemporary. Every time it

confirms the opinion that we have on the piece.

PC: In all its senses. As theatrical setting, it is a new way of approaching dance. It is not

a story, its not an anecdote it is not dance dance, but it is dance dance at the same

time, and it also is a story. That paradox is that which makes it such an inspiration for

us. But also that the people see it as something special. And that it communicates.

PC: Yes, the significance remained the same. I was quit surprised when we did it last time

in Frascati. Nicole, was like, “this music was from ten years ago”, but still how it is

composed, and how it is related to the dance is important, and that is what makes the

piece stay. Even in ten, or twenty years. It is not only the dance, but it is the combina-

tion of using the set, the costume, which is the simplicity, the way how it grows with

the dance, the transparency, the view on the naked body, which is not a naked body at

the same time. These are very basic things about dance presented with layers. It goes

beyond. But it is so simple. Just two bodies, in one space, without any props. But still

so rich with the light.

EG: Besides the philosophy, the result is the combination of all of us with very few and

strong intuition. For me it is the power of the intuition. Like in Extra Dry; two people

have a journey in a set of challenge. We were inspired by the work before.

PC: It is also the beginning. All circumstances in which you create it. It was hell, yet that is

the best way. We didn’t have any money, no dancers etc..



To be able to think about the future of Extra Dry, we need to learn

about its past. In order to provide insight into the creative process

and artistic reasoning, this chapter attempts to reconstruct the

choices and decisions made during this process. To understand the

parameters of what can change and what not – in other words: what is

considered essential to Extra Dry – the respective performances of

Extra Dry have been compared with a focus on: (choice of) dancers,

space, time, and audience relationship.

3.1 Different phases in the creative process

PC: Well, very globally, if you look to our creative process from the beginning towards the

end result, it’s still comparable from the first moment that we worked together.

There is a zero step that is more the talks. You have something in common that is a

fascination and you were rounded by words looking for a vocabulary. From Bianco on it

was also the criticism of the dance world, commenting on other dance performances.

But also the fascination in each other in a social context. Than the first phase is the

most difficult to catch and also if you want to document it, it’s almost impossible be-

cause for me, it’s about ideas. It’s the same when I write the first words that become

phrases. When a composer writes notes and suddenly, you know it’s there, it’s frag-

ments. It’s always a question to us; well, how it comes out of the body? Emio and me

in a studio and with Bianco, it was okay. Let it speak. It was almost like that because

we wanted the body to dictate the structure, the performance and everything. So we

always go back to a zero point and then, of course, it’s now easier than with Bianco

because there is a knowledge somewhere. Also the body is trained now in a subtle

way to that dance fragment, that’s what we call, then, the end of phase one, is that

we have dance fragments. That means there is a, let’s say, series of movements with

an intention which you can grasp, which you can repeat.’ (…) Phase one is the hardest

and the most challenging to say okay, how can you catch it? How is it coming from

us being there in the studio, started to dance with the phase one this may be already

the title. This may be a piece of music if you think there we want to work with. But

3. Phases and Parameters

IMK Documentation ModelPage 38 of 75 <Phases and Parameters>

then how is it suddenly coming, these dance fragments. But at the end of phase one,

we have a serious amount of fragments which, again, you can name it, you can circle

around it, you can speak about, I mean, you can name the quality. They have titles, and

these can be stupid titles. Then you have dance fragments. To define what is a dance

fragment; they have a title (you can name it), an internal logic and are reproducible.

And with these dance fragments, we go into Phase two, well, Bianco, it’s still then

you’re going to develop them. But now, with the last performance, if you see beyond,

then you go to share it with your dancers and from that we’re going to develop them

with this music coming in that we’re using the elements, like music also, to sharpen

them, to develop them further. At the end of phase two, there is a sort of way already

and logic from a follow-up. At the end of phase two, there is a presentation which you

can say okay, this could be a proposal from the follow up, from the dance fragments

which we had in phase one, develops. With also a proposal with music which doesn’t

have to be that the music will be exactly the same. And then, to finish, then you go,

let’s say, in the theatre, that’s the last phase. Phase three. Then, of course, the light or

the other elements, the theatrical space comes in. Also they’re used to even sharpen

and to make this internal logic from the dance fragments even more clear and read-

able. So they can change. But the funny thing is, it’s very rare that an internal logic

from phase two is going to change in phase three.


3.2 Parameters of change

PC: Over the years Extra Dry remained very much the same. Other pieces have changed

much more. In Extra Dry we didn’t change something essential. Of course, we made

some changes, but these are not very relevant. Basically, it’s the same piece. What did

change a lot is the speed, because of the necessity, the urgency.

EG: The first one, the premiere, was the best performance. Also a few others in Russia,

maybe because of the condition, the surroundings. I think Moscow was one of the

most exciting.

PC: I think in Russia it all came together; the urge, the public, the theatre. That is so

important; the needs for these people to see something, the response during the per-

formance.

EG: People were crying, I remember a girl came to Andy, he got a ring from here mother

and she ran away crying.


Q: Which elements are crucial to Extra dry, and should never change?

EG: I would say the parallelism.

PC: The layers of synchronicity, and the statement about choreography. It becomes one

body through different bodies. Once we thought we should create an Extra Dry for

eight or ten people, but that’s impossible. It doesn’t have that same impact as when

you do it with two people.

PC: When I say that there is a sort of distinction between the structure, and between

what’s happening in the process, then I talk about that we facilitate the body, with

structures, there arises a certain quality, that we have to understand. And if you relate

this to the structure, you create the dramaturgy of the piece. Or you create the dram-

aturgy of certain fragments. And that is also if you talk about the pre-choreographed.

That kind of knowledge is not coming from a rigid thought before-hand, it’s coming

from the body. It is the dramaturgy of the flesh.



3.2.1 Dancers

PC: In the beginning we didn’t want to have other people around. But after two or three

years, someone could enter, but still that someone was together with Emio, still almost

one body. This prevented us from dealing with psychological structures or story telling.

So Extra Dry is also a solo for two. This is also a vision of our company which is this

famous word of synchronisation but also the way we relate with other disciplines: It’s

to put things together, it’s not to create a fusion, it’s to sharpen and to strengthen the

other elements. So if we work with live music, it’s not to make a soup but to strength-

en each other. That’s the goal. That’s the ambition. The same goes for the dancers.


EG: The first dancer was very afraid of the piece. It was a single dancer, he had is own

character and he had been doing many solo projects. And then for a long time we were

left alone. People auditioned … We kept looking around, … somebody proposed Andy.

Andy came to the studio and it was not prepared, totally unfinished, but we took the

risk to go with them. Because Andy had no experience it was really the perfect match.

He could ignore limit, no limit, no sense of risk, he could just … It was a risk because

everybody had such huge expectations of this piece. When we decided for Andy, eve-

ryone was like, are you sure about doing this.

PC: We met Barbara in a workshop in Vienna, and there we liked her very much. Also

because of the energy, she had this kind of urge. We then invited her for this other

project. And at the same time Bertha was in the studio … who was completely different

from Andy.

EG: Later others came, like for example Niko has a good sense of timing, and precision,

also because she is Japanese. Niko is more formal, and Sawami more reflective.

PC: That’s also the time we started to have the company, so that’s important. It’s a piece

that has everything inside, and if you can dance Extra Dry, then the work is closed.

Then you have it in you. It is almost part of the education in being part of the company.

PC: We never performed with two girls.

EG: It would be possible because now we are not so afraid anymore to take chances, that

something only happens if you have a specific choice. We were more afraid before. But

it was also the pressure from the outside world. Then you are very careful, but now we

are not that careful.

EG: In the last version is with Vincent and Victor. And they are very diverse, in length for

example.

PC: This was quit important. It should be so much look alike, and to play with these two as

one, and the more they can look alike, the more clear the difference will be. This is an

important motive. This friction is what we wanted to research.

PC: At a certain moment you [the audience] break through the puristic way of how it

was created. And you are aware that it is for example a women, because through the

costume you can see the breasts. So it is very clear that men are men and women are

women, and at the same time you don’t do anything with it. It’s completely sexless at

the other site. So after half an hour, or fifteen minutes, it gets another layer. So first

you see a man and women, you see breasts and whatever, and then you go into the

real quality, what it brings to you.


Q: Is that something you would like to see in the future happening as well, that kind of

change?

PC: Yes, because then we then thought we should also do it with people of eighty years

old, two dancers of sixty. Or an Extra Dry created with children.

EG: This is still a very serious thought.

Q: But then you also said it was one more experience, and it was one less experience.

Andy and Barbara you were the experienced ones, and the other ones were not that

experienced.

EG: And also Ty was very square. He tried to be muscular. ….. It was really like father and

son, that was also touching. There is so much from inside, that in the end you show

your face, everything becomes like radioscopy.

PC: We started with two people, but at one point one dancer couldn’t hold it anymore, and

she needed help, and then the other person came in. She couldn’t finish the trip what

was needed for the right quality of Extra Dry, and then new layers are coming in. It’s

another Extra Dry, and maybe not the puristic one which we created in 1999, but it

adds another layer.

EG: It’s also because it happened in the moment, and you didn’t recognise the change.

Sawami was for example also bald like me. Nobody could find out where it happened.

It was also a beautiful example of disappearing, one person is sucked in, and another

one is produced, but nobody sees when. It was a nice experiment. But in the terms of

leaving the body, it’s not the real one….It’s almost a purification.’

PC: Once we thought we should create an Extra Dry for eight or ten people, but that’s

impossible. It doesn’t have that same impact as when you do it with two people. Then

you need something to work with, other theatrical elements come in; position of space

etcetera. Really stay together, and walking a whole path, a journey.


Door zijn klassieke balletopleiding heeft Greco zelf als het ware een voorgevormd lichaam,

als was hij een insekt of een pauw. De fascinatie voor dieren volgt zo als beeld ook uit

Greco’s idiosyncratisch bewegingsidioom – elke stilering lijkt voort te vloeien vanuit een

organische band met het lichaam. Deze week krijgen we dus het derde deel te zien, ‘Extra

Dry’. In een volkomen duistere zaal slaat onder loeihard gedonder de bliksem in, meermaals.

Die enkele momenten zien we een strak gespannen Greco, in positie om gelanceerd te

worden. Het gaat allemaal te snel om precies te zien wat er gebeurt, maar plots staan

ze er met zijn tweeën, Greco en Greco junior, temidden van een gigantisch goudkleurige

schrijn. Greco danst een duet met Andy Deneys, een student aan P.A.R.T.S. De dansschool

van Anna Teresa De Keersmaekers. Hij is een jonge danser die precies even groot is, even

breed, en met een even glimmend hoofd. Greco danst een duet met zijn evenbeeld. Toch

is Deneys niet zomaar een kloon van Greco, al dansen ze gedurende het merendeel van de

tijd gelijk. De differentie drijft de voorstelling – hoewel ook de muziek en licht een duit in

het zakje doem om het geheel een spannend ritme te geven. Deneys beweegt soepel over

de scène, hij vloeit en golft doorheen een grillige ruimte en danst daarmee een parcours

voor aan Greco. Het is de laatste die er op ongedwongen wijze nog enkele scheppen vir-

tuositeit bovenop doet, en stiekem een randje lijmt aan het gedroomde evenwicht. In tal

van bewegingen spant Greco een extra spier, toont zijn vlees in de gladde kompositie. Met

kleine schokjes kleurt hij zijn danspassen in, alsof het lichaam zijn deel weer opeist. De dans

weigert te stranden in harmonie, de synchrociteit lijkt uiteindelijk weer een nieuwe verstik-

kende ruimte te worden, na de spetterende ontsnappingspogingen uit de ruimte van de

bühne.

�� Stirred, not shaken door Jeroen Peeters. In Veto nr 30 dd. 10

mei 1999


3.2.2 Space

Q: Can you explain a bit better how that works then. You say, they create a space, they

can move about in specific ways, or in their own ways. How much freedom is there?

PC: Of course it’s a set design, a box is already a set design. But what we mean is that the

object is not really something in space. Especially in the beginning for Bianco, Rosso

and Extra Dry, it was to create their own space, we didn’t wanted it to depend on

theaters, or other influences, it was very clear that the body was into that space.

PC: This harks back to the dramaturgy. It has to do with the dramaturgy, the quality of the

fragment. Like in the beginning there is almost no space, there is just this one person

standing there. And this other person has his space, but his memory is already ahead.

But he doesn’t have the space yet to create literally this space. So it’s more in his

head, and he has the space of one meter around him. But the whole sequence that he

is into, relates to all the space that you see. So if you analyze the beginning, you see all

the quality of the fragments already inside this limited space he is doing. And then on

the moment that he goes there, then he starts. And then they start together to create

it.

EG: So maybe what you want to say, once they define the space, it’s not broken by other

choices. Everything is very measured, it exists only because it’s here not there, it’s not

yet. The proportions are very important.


Het spel in de ruimte suggereert een betekenisvol onderscheid tussen voortoneel climax)

en achtertoneel her-beginnen zijtoneel/hoeken (rust en luwte) en centerstage (basis). Maar

tegelijkertijd nemen de dansers de ruimte met zich mee, dan draait de ruimte om hun ahw

met hen mee, waardoor voornoemde waarden volledig veranderen (bv voortoneel wordt

herbegin en climax op zijtoneel) (zie ook eindbeeld)...In ED speelt de vlakte een grote rol,

het toneel is minder binnenkamer, de grot wordt verlaten, de dansers gaan als het ware de

woestijn in dit vgl met eerdere voorstellingen; maar ook als contrast met de kleine ruimte

waarin zich de verstandhouding afspeelt tussen de twee synchroniserende dansers, de

minimale ruimte die door hun twee lichamen bestreken wordt). Tegenover de weidse hori-

zontaal staan talloze verwijzingen naar de vertikaal. De verticale projecties strekken zich

evenzeer ver buiten het individuele kader uit. Dit geeft het geheel een existentiële onder-

toon.

�� “Is dit het? Is dit alles?” F. van der Putt, 22.09.2010


3.2.3 Time

EG: Time is important but it is foremost the speed. In all our work speed is important, it is

the necessity. Especially the piece where I’m inside, they’re always much faster at the

beginning than afterwards, but not because it is a problem of energy, it’s for urgency. I

realise more and more now, that because our pieces are always going, the place where

you stay is never the right one, it’s never the status quo. So you dance because you

are moving, you are going somewhere. You are in contact, you are creating something.

Here, you create here, then it’s from, and it’s constantly shifting. There are moments

just where, the persuasion that you are now, it’s very temporary. It’s for the sake of…

and where is that urgency, all these moments that you see in the piece, that we grasp

a certain way. You go there with a certain preoccupation and a need to, not with the

gesture, not that you go here.


During the discussions more than once the term ‘original phrases’ was pointed out. These

phrases have a begin, end, concept, quality and often a name. The composition gives the

order, length, perspective and additional material. Time is defined by phrases and scenes,

length is the fixed time. One of the dancers (Emio) keeps the timing.

BB: If the intention is clear you have the timing. Time=equal breath=equal intention. One

has to be aware of these 2 layers of the movement. Phrases are structured in a box.

Box = original phrases to do one after each other. Order, length and perspective can

chance. In learning Extra Dry, one learns 10-12-20 phrases and these will be set in

order later on. The connected phrases are a scene. The dramaturgy is based on the

phrases. Extra Dry has around 23 phrases, some repeat through scenes, many ele-

ments from other phrases that appear later in the performance.

� Discussion on notation Extra Dry, Bertha Bermudez and

Barbara Meneses 2009/2010

3.2.4 Audience

PB: Improvisation is key for this group.

But there is also a clear structure in the different performances. You notice them after

four or five performance in the same period/season. For example: the moment the

public needs to ‘awaken’, by making noises or bringing silence, these are extremes –

many lights, few lights.

The works refer to each other. Many of the movements recur in different perfor-

mance. Looking at it from the dance movement, there is reflection and repetition of

movement, but also from a light perspective there are similar moments that can be

found in the whole repertoire. There are many of these comparisons that are experi-

mented with performance after performance.

PB: The public is at least 50cm away, but preferably more. This is different in each theatre

When they enter after the first 10 minutes of Extra Dry they preferably should enter

via the balcony or the back, because otherwise it disturbs the performance. During the

first 10 minutes of the performance no one should enter, because it starts with a quiet

part.

� Interview with Paul Beumer by AD/NIMk team 22.03.2010

(translation AD)

Concentratie op synchroniteit en verschil vanuit innerlijk functioneren

Minimale verschillen in de detaillering van de beweging worden tastbaar door een intense

concentratie op het synchroniseren van adem, energie, beweging, houding, richting, focus,

intentie en vorm. Deze innerlijke concentratie van de dansers overstijgt het representatieve

karakter van het optreden, waardoor de toeschouwer zijn voyeurisme kan laten varen en

een intieme blik krijgt toegespeeld op de activiteiten van de dansers. Dit binnenwerk wordt

een paar maal onderbroken, aanvankelijk door de subtiele gestes-blikken, gebaren- richting

publiek, welke uiteindelijk culmineren in het buiten het kader stappen van de dansers,

wanneer zij vlak voor de finale op het voortoneel een informele uitwisseling hebben met

het publiek, daar stomweg te staan met hun bijkomende lichamen, tussen de kaders, noch

acteur en noch toeschouwer zijn, of misschien juist beide. Het scopofiele wordt daarmee

voor een moment geheel doorbroken…


Bewust effect

Hoewel voornoemde concentratie en intensiteit van de lichamelijke inzet vergeleken kan

worden met een trance-achtige situatie wordt deze nooit bereikt. Er is altijd een zeker

bewustzijn van wie wat inzet, hoeveel van wat en in welke mate. Een zekere theatraliteit

komt steeds om de hoek kijken. Je zou dit ook anders kunnen formuleren: naarmate de

intensiteit toeneemt en het doordoen van de dansers steeds intenser wordt of specifieker,

wordt ook langzaam het publiek als derde partij toegevoegd. Dit groeiende appel verstoort

de mogelijkheid om in trance te raken, zowel voor de dansers als voor het publiek.

�� “Is dit het? Is dit alles?” F. van der Putt, 22.09.2010


In this chapter we explore what is considered crucial to future

reconstructions /re-articulations of Extra Dry. The chapter focuses on

the preparation phase. This information may be of particular interest

to dancers and technicians. The chapter hereafter will elaborate on the

scenographical elements.

4.1 What dancers need to learn

PC: In principle, we never give things on video or DVD to the dancers. Sometimes if there

is an emergency because we are not there. I think it can also be dangerous because

you see a result, so you copy from the outside. You need to know from the inside first

before you go to see it because then oh, yes, it has to be like that.


PC: For me this (the structure) is still existent, and it’s important for Extra Dry, but for the

people who interpret it it’s not so important anymore. If there is a new dancer I am not

going to lecture them about this.

Q: How does that work then. How do you lecture the new dancer then?

PC: That’s a good question. Somewhere is always the frustration that you cannot go

through the same creation process, especially for Extra Dry. You could almost say that

it is the only way how, you can catch it if you really go back into pure form. But that

is impossible. But you have somewhere to go to learn steps, somewhere somehow. So

you go a little bit backwards, it is totally against our ideas, but somewhere you have

to learn. And the good thing is then to pose questions. Questions about where does it

come from. What means syncope?

EG: One concept that we worked with is also the ‘not yet’. It means that maybe you divide

a space in right and left, which is also a huge approximation. There is a moment when

they go from the left to the front, from the left to the right. There is a moment there

is this movement there. Usually this moment is like a resistant to the gravity, you fly

up, but the body is sitting. Also when it finally happens, it shouldn’t happen because

4. Prerequisites for Reconstructing Extra Dry

IMK Documentation ModelPage 45 of 75 <Prerequisites for Reconstructing>

you fall, but because you know, yes it has now. And this has to be shared with the two

dancers. Another example, both of the dancers are here, there is a moment of suspen-

sion. What is in between them that is also up to them, what is the state of their body.

Q: Do you teach the dancers? The steps and the awareness?

PC: Yes, sometimes we do the big work, and then very basic information, like steps can be

done by Barbara, or somebody else.

EG: There is no hierarchy. Everybody can contain the whole.

PC: But what kind of hierarchy you mean. Of course, especially with Andy, through the

experience of Amber there is a sort, in the way that he [doesn’t finish sentence]. But

on the other side of course you have to listen also to him, to make that same trip real-

izable. So it’s an interesting question. There is an hierarchy.

EG: Oh ya in that sense, aha! That’s evident. The transfer was opened also through the

performance. Not in the studio, but every performance was a way to transfer. And

that’s why Bertha and Barbara are so rich of things, they really danced with me, for a

long year. I retransmit to them what I thought relevant to transmit. And they have the

most embodied experience. In Extra Dry you enter and every time you think you aren’t

going to make it to the end. The work is totally aesthetic but also constantly bombed

by danger and a balanced situation. Everything has to be variable and open and then

you can communicate, and transmit. The not touching was also about that. They never

touch, but the touching is much more interesting than the neo-classical touch that we

are used to see in dance. Which in fact breaks the real. The subject is broken because

there is a more social element that you bring in.


4.2 Warming Up

Emio Greco communicates his intentions about movement and the body to the dancers

through a series of exercises, comprising the warm-up. “Participants are guided through a

specific warming up in which the body is being freed of formal conditions with the purpose

to come to a new vulnerability and to experience the helplessness and hopelessness of

the body. Detailed exercises help to break resistance, to open the body for a new physical

understanding.”

�� Jeroen Fabius, 2007, Company in school, p.21

1 Breathing is a way of giving, a vehicle of information in which you project the situation

of your body outside of yourself.

2 Jumping means deconstruction for the sake of reconstruction. Its intensity encourages

physical strength, resistance, regeneration and reconsideration of energy. It represents

the aim of not having a body.

3 Expanding is a further development of Breathing and Jumping in which the first per-

sonal choices are taken. It depends on the dancers’ critical approach to use what is

available and at the same time not to be satisfied with it.

4 Incorporation is a gradual decrease of length and weight, exercising the ability of con-

trol and measure of time and space with the need to explore the outside.

�� The warming up consists of four stadia: formulated by Bertha Ber-

mudez, in: Jeroen Fabius, 2007, company in the school, p.21


Through a series of warming up exercises, described as the four stadia of intention … the

dancer becomes aware of EG intentions about movement and the body. “They say it takes

a year for a dancer to really star to live in the work. In that year the physical and mental

practices start to sink in and become embedded in the subjectivity of the dancers.” [Jeroen

Fabius, 2007, p.22] The trust in an ‘intelligent body’, i.e. the intrinsic knowledge of the

body, is acknowledged here. “In the range of divergent processes there is an ethic of how

the knowledge practices are shared, not through correction, but through a hesitation and

patience, waiting to see how a movement is picked up by a dancer the next time around.”

[Jeroen Fabius, 2007, p.22] [quote interview Barbara lab #1]

�� Jeroen Fabius, 2007, Company in school

4.3 Installation

How to notate Dance? Since 2004, when one of the EG|PC Salons was challengingly dedi-

cated to the implications of building up modern repertoire and of archiving contemporary

dance, EG|PC has been researching ways of documenting and analyzing their work. The

ultimate aim is to develop an information resource that draws from their past, present and

future work. A “living archive” based on principles of movement and choreography that are

constantly evolving. The development of this archive has taken place along different paths:

in 2005, EG|PC was in residence at the Amsterdam School for the Arts where they explored

themes related to reproduction and authenticity, new systems of notation and dance idioms.

Connecting with international researchers to explore these issues further, took the

notation research project to the next level. The research team uses documentary filmmak-

ing, existing dance notation systems, interactive media design, gesture analysis and insights

from cognition studies. In October 2007 the first results of the project were presented to

the public in the form of the book Capturing Intention and the Interactive Installation Double

Skin/Double Mind. The team aims to apply their findings from the workshop experience to

the creative process in the near future. The workshop Double Skin / Double Mind represents

the basis of Emio Greco | PC creative work. Through the years this workshop has developed

into a clear structure in which participants are challenged to explore their own creativity by

learning new ways of dealing with their bodies. Breathing, Jumping, Expanding, Reducing

and Transfer are the terms that describe the main parts of the workshop, in which body and

mind cooperate to achieve a physical metamorphosis, blending the form of the movement

with its intention. The Interactive Installation Double Skin/ Double Mind is a virtual version

of the Double Skin/Double Mind workshop. The installation offers participants the possibility

to take part in a virtual version of the workshop in real time, while receiving verbal, physical

and peripheral information. The design made by Chris Ziegler (ZKM Karlsruhe) – consisting

of an aluminum frame construction with one projection screen, four sound speakers and one

tracking camera – surrounds the participant. The movement tracking program Gestural Fol-

lower developed by Frédéric Bevilacqua (IRCAM) compares the different data of the filmed

version of the workshop with the real time data of the participant’s movements. As result of

this comparison, different forms of feedback are given: sonification, visualization and music

will accompany the participants while mentally and physically travelling through the Double

Skin/Double Mind structure.



4.4 Workshop

A workshop, the teaching method, shows the complexity and important aspects of the

works (from small to the more important parts). The teaching reflects the creation process

of Emio Greco. The workshop starts with the elements, followed by the phrases, and the

third part consists of connecting these and show how they travel in space.

During the whole course there is a constant emphasis on the intention, meaning and

state of mind of the specific parts that are learned.

At the end of the training, the deeper level of the course, extra information concerning

performativity is given to the dancers, this is a personal exchange because every dancer is

different.

� Information provided by Barbara and Bertha, 28.10.2009

PC: ‘Then at the same time also the workshop came in, there’s also the interview with

[unclear] it was also clear that that also has to do with transfer at [unclear] forest and

it was very helpful. When we started to do a workshop, it was after the Bianco Rosso

with this, that you have to put it in names, so you document also for yourself, because

it doesn’t transfer. You have to communicate it towards the students when they [un-

clear], which we had then which then became the [unclear]… Again this was very help-

ful also to our own work, so we had to name it. At one point we had a resistance for

documenting, existing [?] for words, at the other side we see the necessity and it’s so

needed that you put things in words that you can find the right… And since the begin-

ning already we try to find a new language which is also this, kind of, [unclear], also in

the salons which we [unclear] dance critic, what is the new language?’



In this chapter we shall explore what is considered crucial to future

reconstructions/re-performances of Extra Dry. This information may be

of particular interest to choreographers, dancers and technicians who

want to learn what it may take to perform Extra Dry. Each section looks

into a crucial element of the performance and describes the necessities

and parameters of change concerning the scenograhic elements, with a

focus on: stage, cues, light, sound, hardware/software, costumes and

others.

5.1 Collaboration artistic team

PC: It’s almost a paradox; the ideas are coming from Emio and me. At the same time Henk

[light] and Clifford [costumes] understand our way of thinking, our logic, they can

think with us. In that sense they are completely equal. It is not that we start Bianco

and then follow a light designer. That would be completely different. These people

have the knowledge and an authority, yet at the same time they don’t want to come

with models. That would be totally not acceptable. For us it was also very important

to protect the work. To say, it’s the body that dictates. For example, the light design is

constructed in a combination of how it relates to the body, of what is necessary. There

is not a moment that a light designer comes in, he looks, and designs the light. Of

course that can still change, but we never worked in such a way.

� Interview with EG|PC by AD/GW 08.10.2010

EG: We’re not all equal, but everyone is free.

PB: Normally we travel with two technicians. Pieter is always the first contact, and in

the case of ED I am the technical coordinator. Depending on where I am or where we

build the performance I will be the contact person. Pieter makes an estimation on the

proceedings of building of the performance and from there he decides if we need a

“run-through” and at what time. Based on that we decide if we are also making a tech-

nical “run-through” to check the lights. Pieter talks to me and I talk to the rest of the

5. Staging / Scenography

IMK Documentation ModelPage 49 of 75 <Staging / Scenography>

technicians. Together with them we prepare the building. I also communicate with the

theatre whether we make a ‘run-through’ or not, what time and at what time the doors

open for the public, what we do with the audience who are late, merchandise and all

other things. Pieter is only there for the sound check. He is the one who decides, he

makes the last call.


(translation AD)

5.2 Stage

PC: We wanted to create our own theatre. Not depending on other theatres. This is our

limited space, and there it has to happen. And this we encounter the first time with

Bianco, and in Rosso it became more clear. It is a playing with the other worlds: The

world behind the limited space of the box. Extra Dry was the beginning of that other

world. We wanted to break it open. With the following pieces we still had a box, but it

had a lot of transparency, there were big openings and one could still see the world be-

hind it. Extra Dry also has an opening, but that meant that there was freedom to come

in again. It was not yet the freedom to see behind it. For me and Emio, we wanted to

have a cordon sanitaire. We wanted to create our own world, and didn’t want to involve

ourselves completely with other worlds. The other world was the world which was not

ours. And this was our space, and our way, and our manifest. So there is a very basic

idea behind it. We were quit rigid.

EG: We were protective, in the sense that we wanted to define ourselves; to position our-

selves very clearly.


PB: We make the construction of the box ourselves. It is a construction of a number of

metal tubes that hang. They are not specific. If we go on tour in the Netherlands, we

make sure we bring our own tubes that we hang at the right height. If we go to for

example Italy than we rent to the tubes on the spot. The tubes are hung in a rectangle

and from this we hang the gold curtains. It is envisaged that it should be hanging as

tight as possible, without any wrinkles. On the floor we put wooden planks on the

curtains, as weights.

The shape of the rectangle, and the height, in my experience is extremely variable.

It is measured according to the lights and the position of the audience. The curtains

are seven meter high, and the maximum width is 12 meters. If you go beyond 12 meters

you will get problems with sight lines. At times people in the room can no longer see

the corners. Smaller than this we can’t go, larger is possible, but it might lead to prob-

lems with the audience sight lines.

The moment one of the dancers goes through the curtain is one of the things one

should keep in mind when building and measuring. The location of this gap is at least


two meters from the floor’s edge. The dancer must also be able to walk behind the

curtain, and between the front curtain and the audience must be at least 50 cm, from

there it is about 2.70 m to the gap.

Next to the golden curtains we use black stage curtains that are provided by the

theatre, these provide the frame of the scene. We hang two on each side and then one

behind the hole where the dancers are going through so the audience will not see the

stage. And we also use horizontal curtains to hide the lamps hanging in the grid.


(translation AD)

5.3 Cues11

PC: There are cues. Sometimes they are very clear, others are freer. It is always a sort of

overlapping. You can play with that, but that is always the difficulty. When a technician

has the right sensitivity, then you can take the freedom. On the moment that the tech-

nician doesn’t have it, then you have a problem. You could make the statement that

the quality of the performance is depending on the technician who is doing the music

and the light. With performances from other companies that is not always so. In all our

work you directly see it, when a technician doesn’t have any sensitivity.


PC: Emio and I make the cues for the light and the sound. They are variable. It’s not that

you have a tape running for sixty minutes. Things are defined, but dancer, sound and

music follow each other.


PB: Some cues you have to do by your own gut-feeling. You see, experience and almost

feel the performance and know why something needs to be done. Other cues are more

straight forward, because if you don’t perform them the result you want in 10 min time

won’t happen. When differences with for example other dancers occur and are discov-

ered, they will be discussed together with Pieter.

Essentially cue lists don’t change, but the intention of the light, or the intensities

do change. We don’t have the exact intensity of the light on paper. The positions are

stored in the format of the light table. But if the light table is gone there is nothing

on paper. We have a server at work with backups of previous performances. The cue

list shows much better the intent of the performance, than in the light computer, the

control equipment.


(translation AD)

11 See the Appendix for the cue list.


5.4 Light

PC: ‘Important is the costume effect. It was important to have this golden color, and also

be transparent. Rosso was more closed with the red, and this should keep more open-

ing to the outside world, that’s why in the end there is light behind, there is a world

behind. That’s also quit important.’

EG: ‘The difference also which is the best option, in Rosso we make the light direct. The

other important thing was also that the light should be perceived, but not seen. So the

audience doesn’t see the source of light, but they are just sensing the light. In Rosso

we did the opposite; it was very evident, very industrial. You couldn’t see the source.’


In – bianco – the light plays a fleeting game with movement in a extremely bright space. In

the unavoidable space of ROSSO the light is a more pushing, almost controllable force in

the performance. EXTRA DRY will be predicted by the confrontation between light, danc-

ers and music. The light will be manifest in unexpected moments. Confrontation will be-

come of fight. A fight between the movement of the light and the movement of the danc-

ers. No environments will be marked out by light. Light appears and disappears in relation

to the fight. No clear cut previous light spots and -plans. Will the movement be given by

the light or is it the other way around? Does one try to meet or escape from each other?

�� Henk Danner – translation GW, from the EG|PC archive

PB: Emio and Peter want to achieve a space that is not visible. Therefore, in some perfor-

mances they are, and others theyare not, using light that shines in the audience and

dazzles them. In one theater, we need it because the space itself is too bright, and

in others we don’t because the space is dark. The variable depends on whether the

theater is dark enough, or that there is something from the spill light from the stage

or the auditorium. If the room is dark enough that you do not see what’s on stage than

we do without lights. Once you see anything of the dancers there is a greater need for

these specific light: audience blinders.

PB: We use only our own light table, which we always which bring with us, because it

is very specific in what you can do with it, and it is easier and faster to work with. I

would not dare to use another lightbox when I don’t have an extra day to get to know

it. There are ninety scenes each having their own securities and effects that cannot

be copied in other lightboxes. Dimmers: We use a lot Parre lights, a certain type of

dimmers and they tend to make a sound. There is no intention to have those, and now

there are dimmers that can filter it out. Is that a conscious choice or not, it’s just a

case of product. And it helps to ensure that we choose a dimmer type who does not

make a sound. We are aware that we use Parre lights that have a certain negative

quality, and we look for solutions to minimize it as much as possible.


(translation AD)


5.5 Sound

PC: It was when we started with Bianco, and then Rosso, where we actually discovered

how we could use sound and music to create dance. To create dance, is to give mean-

ing and value of the intention, the construction of dance. In Extra Dry I developed that

further. With the creation of Rosso I had thousand of kinds of music, and could really

order and structure and think about possibilities. I had that kind of knowledge and

experience and memories of music in my mind, when I started with Extra Dry.

We really took the time to find the right music for the right intention for the right

moment. It is like you use thousands of music’s, you go through the process, and then

you go to define, and in the end it becomes a sort of musical score. It has its own

composition. The music becomes dance and the dance becomes music. That is the

way we use the sound and the music.

EG: To make it more difficult. There is this knowledge of the dancer which is submerged in

the musical context, the surrounding. The body of the dancer is totally in shock by a

wall of music that suddenly opens. Choreographically, we go to music that still has to

come.

PC: We try to reach that state where the sound becomes a physical aspect, you feel that

there is a resonance in the body, the representation of the dancer.

EG: Other times, it is very physical. You feel the music through the skin. It is almost that

the music is in the space. When you move through the space, you touch that noise.

Towards the end, it is very chopped music, so you define the space through this note

to keep going. It is a complete experience.

PC: The volume is also quit important. It depends on the way you deal and relate to an

audience. Every time I do it, it is different. It is the way of how you sense the com-

munication, which has also to do with a live performance. The way how you catch the

audience.

PC: In Extra Dry there is a continuous tone that builds during the fireworks, and this stays

till the end.

EG: There is always music, always some sounds, in Extra Dry.

EG: For me it was a sense of presence. A habitat inhabitated by something, an energy, a

somebody, or an entity, and the moment is recognizable where it originated, and where

it ends. It was also to create a horizon. A fixing point.


PB: As far as I can remember Pieter has always worked with two CDplayers. So, there is

a table with the audio CD playes and a PA of the theatre it self. The sound quality de-

pends on the theatre, and we have in our technical rider the specifics on what we need

and ask tem to gives us anything that meets the requirements.


(translation AD)


5.6 Computer / Software

PB: One computer runs Windows and the other Unix, actually it is two different pro-

grammes but both based in Windows. I think they are programmed in C++ and converted to

Windows but I’m not sure.

For the light we use standard software but that is in development. Also the light cable

computer is standard. That software is still developing rapidly. Every six years there is an

update. That’s a part that changes by the software, and probably has implications for what

is says now.


5.7 Costumes

Q: The costumes in Extra Dry are transparent and become wet, almost like a second skin.

Is that important to you?

PC: Yes, that was the perfect match. Because it tells its own story.

EG: It’s…silk

PC: Het kostuum plakt aan het lichaam, ok denk minder aan transparant maar wel aan li-

chaam tekenend, plooi en kreuk ultra-light plakt door zweet aan het lichaam. Misschien

Hierdoor ontstaat transparantie,…, eenvoud en simple, maar blijft toch actueel. [Pieter

reads from a fax letter: Fax from Clifford Portier to Pieter C. Scholten, 30.01.2009]

EG: Extra Dry was pure, just silk White, the body absorbed it. For us it was the success of

achievement of not having costume but still something very important. Not naked, it

was further than naked.

PC: The colors were quit important. Extra Dry was really gold. But the costumes should

thus be no color, white should go with the skin. Because at the moment it’s transpar-

ent it gets the skin color.

EG: Also because it was light, it’s luminosity. The white reflects.

Q: And what if you take a black dancer then?

PC: For Extra Dry it would be beautiful. But of course the color then is different. You cre-

ate another color to match to whatever.

EG: It starts as a screen the costume, a screen of the body. Not touched before you start

to sweat. Create this picture of two people very far away, very holistic. But this can be

for any kind of skin.

Q: So you could also imagine if this specific fabric was never found anymore that you

could take something, else, but you wanted to keep the transparency, the second skin,

the nakedness, showing the body.

EG: Yes absolutely.


The costume stays tight around the body and ‘dress-like’. Material wise I think less to

transparent but more body tekenend. Pleat & crease, ultra-light, sticked by sweat to the

body maybe transparency is given, silk plonge, plain & simple and still actual concerning the

leather idea: it’s to obvious an idea (do you understand what I mean with this) so no further


research into this! The feel of the costume should be the same as the feel of air, fleeting.

�� Fax from Clifford Portier to Pieter C. Scholten, 30.01.2009

It is important that the audience can see exactly what is going on with his taut, muscular

frame. ‘ Costumes are important to show the skin, following the lines of the body, ‘ he says

earnestly. ‘to portray the transformation of the body. You end up with the visibility, the

sweat.’’A lot of extra dry is about the line between the sacred and the profane, visibility and

invisibility, the concrete and the abstract.’ And that’s were the tight white dress comes into

it: ‘it’s not just a dress: it fits close to the body, it allows movement, it doesn’t take to much

attention, but shows the metamorphosis with the body heat through the piece.’ ‘There is

moment where the dance is like streams of energy an thought, where two bodies enter

each other and split again, like evaporation, disappearance and enlightment.

�� Greco: nothing to hide, by Don Morris In The Scotsman 25.08.2000

Quote: Emio Greco ‘Ik hou ervan precies te werken: als je je been of arm exact in de ruimte

plaatst, als je oog hebt voor details, kun je je idee beter overbrengen. Ik hoef niet per se

met perfecte lichamen te werken. … Als ik zelf dans, voelt mijn lichaam het meest natuurlijk

in een jurk. Een jurk bedekt het lichaam niet helemaal en danst met je mee. Dansen in witte

zijde dat het licht weerkaatst geeft een engelachtig soort visioen, terwijl zwarte kleding

absorbeert. De kostuums zijn bij ons nooit toevallig, ze vormen een belangrijk deel van het

werk: kleur en materiaal bepalen een groot deel de stemming van een stuk.

�� Emio Greco (1965) door Irene Start In Dans (2004)


A. Biographies EG|PC

B. Team Extra Dry

C. Play List

D. Technical Rider

E. Cue List

F. Light Plan

G. Soft Materials (Doeken)

H. Structure Extra Dry

I. References

Appendix A: Biographies

Emio Greco | Pieter C. Scholten and dance company Emio Greco | PC

Emio Greco and Pieter C. Scholten have worked together since 1995 in their joint search

for new dance forms. Out of curiosity for the body and its inner motives they created their

first work: the solo Bianco, which became the first part of the trilogy Fra Cervello e Movi-

mento (between brain and movement). They also wrote a manifesto setting out 7 basic

principles of dance and their impact on the body and the spectator.

After the internationally successful dance productions created between 1995 and

2001, from 2002, Greco and Scholten shifted the perspective of their company Emio

Greco | PC to opera, music and film. At the request of the Edinburgh International Festival

they directed and choreographed two operas, which included Gluck’s Orfeo ed Euridice.

Their collaboration with Swiss composer Hanspeter Kyburz in the on-going project Double

Points:+ followed shortly after. Together with Toneelgroep Amsterdam, Greco and Scholten

made Teorema, based on a film and a novel by Pier Paolo Pasolini. In 2006, these inter-

disciplinary excursions gave rise to the highly acclaimed dance production HELL, the first

part of a trilogy inspired by Dante. The second part, [purgatorio] premièred in 2008 during

the Holland Festival and included compositions by contemporary composer Michael Gor-

don and classical composer Franck Krawczyk. In 2009, a special collaboration took place

between EG | PC, star violinist Janine Jansen and clarinettist Martin Fröst, Double Points:

Janine | Martin. The third and final part of the Dante trilogy, you PARA | DISO had its world

première in Monaco in July 2010.


Appendix

IMK Documentation ModelPage 56 of 75 <Appendix>

Appendix B: Team Extra Dry

Lighting

Henk Danner (The Netherlands) developed the stage and lighting design programme at the

University of Amsterdam faculty of Theatre Studies, where he currently works as lecturer.

He has created lighting designs for a number of Dutch as well as international theatre and

media artists. Danner has worked with Emio Greco | PC since 1996.

Costumes

Dutch fashion designer Clifford Portier (1966) graduated from the Fashion Academy

Charles Montaigne, Amsterdam. After his studies, Clifford moved to Milan. He specialises in

men’s fashion and has worked as a designer and concept designer for various international

fashion brands, including Mexx and Falke. At the same time he continues to look for new

forms. His passion for contemporary dance resulted in a special partnership with the inter-

nationally acclaimed dance company Emio Greco | PC. It led to a new approach to what a

dress can mean. The design does not only cover the body, but also reveals a life of its own.

His ingenious design has meanwhile become the hallmark of the company.

Research

Bertha Bermúdez Pascual was Prix de Lausanne laureate in 1992. After her dance educa-

tion in Pamplona she continued with professional studies at the Rudra Béjart Dance School

in Lausanne and the John Cranko School in Stuttgart. Between 1993 and 1996 she was a

member of the Frankfurt Ballet and then joined Compañia Nacional de Danza in Madrid.

She has performed in productions by a.o. William Forsythe, Nacho Duato, Jirí Kylián, Ohad

Naharin and Hans van Manen. Bermúdez Pascual joined Emio Greco | PC in 1998 and has

performed in most of their works. In 2005 she stopped performing and started working for

EG|PC transmitting their work and doing research around dance notation

Dancers

— Andy deNys (Belgium) to be edit by EG|PC

— Bàrbara Meneses Gutiérrez (Barcelona) graduated in 1999 from contemporary dance

school P.A.R.T.S in Brussels (BE) and was a member of dance company Emio Greco |

PC from 2000 till 2006. After two years break from the dance scene she’s currently

collaborating with ICKamsterdam- Emio Greco | PC company in different projects

as well as being a guest teacher at the School for New Dance Development (SNDO)

and Modern Theatre Dance (MTD) departments of the Amsterdam School of the Arts

(AHK).

— Sawami Fukuoka (Japan) studied visual arts at the Art College of Kyoto. In 2001 she

was selected for the European Scholarship Programme for Contemporary Dance,

danceWEB, at ImpulzTanz in Vienna. Sawami joined Emio Greco | PC in 2002.

— Vincent Colomes (France) graduated from the Conservatoire National Supérieur de

Musique et de Danse de Paris in 1995, with a specialisation in classical ballet. He

danced with Ballet Victor Ullate, Ballet National de Marseille Roland Petit, Introdans,

Ballets Gulbenkian and Compagnie Metros. Vincent Colomes joined Emio Greco | PC in

2006.

— Victor Callens (France) graduated from the Conservatoire National Supérieur de Mu-

sique et de Danse de Paris in 2006 and with his graduation-performance obtained the

first prize in the category contemporary dance. Victor Callens joined Emio Greco | PC

in 2007.



Appendix C: Play List

Date Presenter Theater Plaats Land Dancers

30-3-1999 Kaaitheater Brussels Be Andy deNys, Emio Greco

31-3 Kaaitheater Brussels Be Andy deNys, Emio Greco

1-4 Kaaitheater Brussels Be Andy deNys, Emio Greco

8-4 De Vooruit Gent Be Andy deNys, Emio Greco

14-4 Springdance Utrecht Nl Andy deNys, Emio Greco

15-4 Springdance Utrecht Nl Andy deNys, Emio Greco

1-5 Bellevue Amsterdam Nl Andy deNys, Emio Greco

2-5 Bellevue Amsterdam Nl Andy deNys, Emio Greco

6-5 Lantaren/Venster Rotterdam Nl Andy deNys, Emio Greco



11-5 De Brandweerkazerne Leuven Be Andy deNys, Emio Greco

12-5 De Brandweerkazerne Leuven Be Andy deNys, Emio Greco

6-6 16th Dance Week festival Zagreb Croatia Andy deNys, Emio Greco

13-8 ImPulzTanz Vienna Austria Andy deNys, Emio Greco

15-8 ImPulzTanz Vienna Austria Andy deNys, Emio Greco

19-8 Tanz im August Theater am Hallische Ufer Berlin De Andy deNys, Emio Greco




12-9 Batie Festival Geneve CH Andy deNys, Emio Greco

16-9 Keuze van de schouwburg Rotterdam NL Andy deNys, Emio Greco

23-9 Korzo Den Haag NL Andy deNys, Emio Greco

24-9 Korzo Den Haag NL Andy deNys, Emio Greco

18-10 First Europ. Fest. Of Cont. Dance Moscow Russia Andy deNys, Emio Greco

29-10 Moving Mime festival Tilburg NL Andy deNys, Emio Greco

11-11 Monty Antwerpen BE Andy deNys, Emio Greco

12-11 Monty Antwerpen BE Andy deNys, Emio Greco

15-12 Sadsschouwburg Brugge Brugge BE Andy deNys, Emio Greco

19-8 Internationales Tanzfest Berlin Theater am Halleschen Ufer Berlin DE Andy deNys, Emio Greco



6-1-2000 Cultureel Centrum Beveren BE Andy deNys, Emio Greco

13-1 Cultureel Centrum Maasmechelen BE Andy deNys, Emio Greco

17-1 Theatre de la Bastille Paris FR Andy deNys, Emio Greco

18-1 Theatre de la Bastille Paris Greece Andy deNys, Emio Greco





23-1 Theatre de la Bastille Paris France Andy deNys, Emio Greco

28-1 Cultureel Centrum Lommel Belgium Andy deNys, Emio Greco

1-2 Theatre National Rennes France Andy deNys, Emio Greco




8-2 La Garonne Toulouse France Andy deNys, Emio Greco

9-2 La Garonne Toulouse France Andy deNys, Emio Greco

3-3 Teatro Central Sevilla Spain Andy deNys, Emio Greco

4-3 Teatro Central Sevilla Spain Andy deNys, Emio Greco

25-5 Dans in Kortrijk Kortrijk Belgium Barbara Meneses, Emio Greco

27-5 L’ Opéra Leonardo de Vinci Rouen France Barbara Meneses, Emio Greco

3-6 Madrid en Danza Madrid Spain Barbara Meneses, Emio Greco

7-7 Internationale Tanzwochen Münster Munster DE Barbara Meneses, Emio Greco

8-7 Internationale Tanzwochen Münster Munster DE Barbara Meneses, Emio Greco

25-8 Edinburgh International Festival Edinburgh GB Barbara Meneses, Emio Greco

15-3-2001 Universiteitstheater Amsterdam NL Barbara Meneses, Emio Greco


23-3 MCA Chicago USA Barbara Meneses, Emio Greco

24-3 MCA Chicago USA Barbara Meneses, Emio Greco

29-3 Wexner Center Columbus USA Barbara Meneses, Emio Greco




5-4 Southern Theater Minneapolis USA Barbara Meneses, Emio Greco



20-7 ImPulzTanz Akademietheater Vienna Austria Barbara Meneses, Emio Greco

25-9 Festival Internacional de Buenos Aires Buenos Aires AG Barbara Meneses, Emio Greco



25-11-03 Teatro Comunale Ferrara IT Barbara Meneses, Emio Greco

26-11 Teatro Comunale Ferrara IT Barbara Meneses, Emio Greco

29-11 Festival d’Autunno Teatro Ariosto Reggio Emilia IT Barbara Meneses, Emio Greco

2-12 Teatro Novelli Rimini IT Barbara Meneses, Emio Greco

4-12 Teatro Comunale Modena IT Barbara Meneses, Emio Greco

7-12 Teatro Comunale Casalmaggiore IT Barbara Meneses, Emio Greco


04-10-04 Brakke Grond Amsterdam NE Barbara Meneses, Emio Greco

5-10 Brakke Grond Amsterdam NE Barbara Meneses, Emio Greco

2-11 Romaeuropa Festival Teatro Valle Rome IT Barbara Meneses, Emio Greco

3-11 Romaeuropa Festival Teatro Valle Rome IT Barbara Meneses, Emio Greco

26-11 Trafo House of Con. Art Budapest HU Barbara Meneses, Emio Greco



04-02-06 CC de Spil CC De Spil Roeselaere BESawami Fukuoka, Emio Greco, Nicola Mo-

naco

7-2 De Veste De Veste Delft NLSawami Fukuoka, Emio Greco, Nicola Mo-

naco

8-2 Schouwburg de Meerse Schouwburg de Meerse Hoofddorp NLSawami Fukuoka, Emio Greco, Nicola Mo-

naco

9-2 Schouwburg Schouwburg Tilburg Tilburg NLSawami Fukuoka, Emio Greco, Nicola Mo-

naco

10-2 Theater a/h Vrijthof Theater a/h Vrijthof Maastricht NLSawami Fukuoka, Emio Greco, Nicola Mo-

naco

14-2 Stadsschouwburg Stadsschouwburg Amsterdam Amsterdam NLSawami Fukuoka, Emio Greco, Nicola Mo-

naco

15-2 Stadsschouwburg Stadsschouwburg Amsterdam Amsterdam NLSawami Fukuoka, Emio Greco, Nicola Mo-

naco

17-2 De Vest De Vest Alkmaar NLSawami Fukuoka, Emio Greco, Nicola Mo-

naco

18-2 Tanzhaus NRW Tanzhaus NRW Düsseldorf DESawami Fukuoka, Emio Greco, Nicola Mo-

naco

21-2 Sradssschouwburg Stadsschouwburg Groningen Groningen NLSawami Fukuoka, Emio Greco, Nicola Mo-

naco

22-2 De Harmoniie De Harmonie Leeuwarden NLSawami Fukuoka, Emio Greco, Nicola Mo-

naco

25-2 Schouwburg Kunstmin Schouwburg Kunstmin Dordrecht NLSawami Fukuoka, Emio Greco, Nicola Mo-

naco


02-08-07 ImPulsTanz Volkstheater Vienna AUVincent Colomes, Emio Greco, Nicola Mo-

naco,

4-8 ImPulsTanz Volkstheater Vienna AUVincent Colomes, Emio Greco, Nicola Mo-

naco,

8-8 Opera Estate festival Teatro Astra Bassano ITVincent Colomes, Emio Greco, Nicola Mo-

naco,

21-9 Kaaitheater Brussels BEVincent Colomes, Emio Greco, Nicola Mo-

naco,

25-9 Maison de la Culture Amiens FRVincent Colomes, Emio Greco, Nicola Mo-

naco,

17-04-08 Springdance Huis a/d Werf Utrecht NL Ty Boomershine, Victor Callens

18-4 Springdance Huis a/d Werf Utrecht NL Ty Boomershine, Victor Callens

22-01-09 Theater Frascati Frascati 1 Amsterdam NL Victor Callens, Vincent Colomes

23-1 Theater Frascati Frascati 2 Amsterdam NL Victor Callens, Vincent Colomes

24-1 Theater Frascati Frascati 3 Amsterdam NL Victor Callens, Vincent Colomes

29-5 Contemporanea Colline festival Teatro Metastasio Prato IT Victor Callens, Vincent Colomes

20-11 Odeon de Spiegel Zwolle NL Victor Callens, Vincent Colomes

21-11 Korzo5hoog Den Haag NL Victor Callens, Vincent Colomes

24-11 Deventer Schouwburg Deventer NL Victor Callens, Vincent Colomes

25-11 Podium Twente Enschede NL Victor Callens, Vincent Colomes

3-12 Torino Danza Teatro Astra Turin IT Victor Callens, Vincent Colomes

4-12 Torino Danza Teatro Astra Turin IT Victor Callens, Vincent Colomes

18-10-10 Art Station Foundation Poznan P Victor Callens, Vincent Colomes

20-10-10 Teatr Studio Warsaw P Victor Callens, Vincent Colomes


page 1/2

Proposed time schedule day one: 9:00 arrival technical crew/unloading/building light 12:30 lunch 13:30 finish light/building set 15:00 focus light/building sound 18:00 dinner 20:00 dancers on stage 21:00 run-through w light and sound 23:00 end day two: 10:00 corrections 12:30 lunch 16:00 dress rehearsal 17:30 dinner 19:00 clean stage 20:00 performance (75 min.) 21:15 end performance strip-out 1,5 hrs

Technical Rider 120410 Extra Dry – ICKamsterdam / Emio Greco | PC This technical rider forms an integral part of the contract you have concluded with ICKamsterdam / EG|PC / Stichting Zwaanproducties. Lighting and sound are a vital part of the performance. If you cannot comply with this rider, please contact us as soon as possible. We can make an adapted plan for your venue. Technical coordinator: Paul Beumer E-mail: [email protected] Mob.tel.: +31(0)6 143 430 70 Office: Witte de Withstraat 117-3; 1057 XR Amsterdam; +31 – (0)20 – 616 72 40 General We ask: - Complete house-crew (min. 2 light, 2 stage, 1 sound) - a stage of 12 meters wide, 10 meter deep, light at 7 meters - F.O.H. position inside auditorium 3m by 1,5m (not under balcony) - three pairs of legs, 6 borders - 3 pieces of triangular truss (e.g. Prolyte X30d) 11 meters each - a completely dark stage, without spill from exit lights, etc. - a clean stage (sprung floor) - dressing rooms with water, fruit, showers and towels for 2 dancers - ironing board and iron in a dressing room (we don’t need wardrobe) - the houselights will be used at the lowest possible level - there are no fly cues during the performance Light We ask: lx-bars: 86 x 1kW Par64, 240V, CP 61, NSP 61 circuits 3 x 1kW Par 64, 240V, CP 60, VNSP 9 x 2 kW PC with barndoors 2 x 2 kW profiles with shutters 8 x 1 kW floods/Cyclights 1st lx and 6 x 1 kW PC with barndoors F.O.H. bridge: 7 x 2 kW profile with shutters 10 circuits total: 71 x 2 kW circuits plus houselights We will bring:

• Lighting desk Strand Light Pallette with monitor • We have a wireless network for remote.

page 2/2

Sound We ask: - PA system suitable for theatre venue. • 2x full range speaker (L + R, flown), (e.g. d&b Q7) • 2x full range speaker (Centre cluster), (e.g. d&b Q7) • 2x 2 subs, (Sub), (e.g. d&b Qsub)

• Separate lines for L,R,Cluster,Sub an monitor L and R - Monitor • 4x full range monitor on floor (DSL, USL, DSR, USR) in two groups (left and right) -Mic/Players/Console • 1x CD players with auto-pauze

We will bring: • Yamaha LS9 sounddesk • 2 x CD player • Laptop (on 1/4 inch jack) Shipping We will bring: • 2 flight cases with dance floor, fireproofed curtain, accessories • 1 toolbox • 1 flightcase with sound equipment • 1 flightcase with Lighting desk • 1 VGA 17’’ LCD Monitor for our lighting console approx. 700 kg, 6 pieces

Appendix D: Technical Rider


Number Name # Fixtures Fixtures Cue Wait Cue Fade Down Wait Down Fade

1 Walk in 16 70>74+80>9070>74+80>90 3

2 Start performance (fade-out) 16 70>74+80>9070>74+80>90 12

3 Cd 1-1 1.27 allow 6 seconds 5 41>42+44>4641>42+44>46 0

4 Vincent bends backwards (head to audience) 5 41>42+44>4641>42+44>46 50

5 Follow Vincent 4 41>42+44>4541>42+44>45 50

6 Vincent turns, face to audience 3 41>42+44 40

7 Port-de-bras 2nd time arms up (grasp light) 4 41>43+45 90 10 90

8 End of trumpet CD -1:52 6 3>6+43+45 20 3 20

9 On arms down 6 2>7 3 9-10-11 volgen elkaar automisch op. Het zijn in tijd geprogammeerde follow cue's

10 | 8 1>8 3

11 \/ 8 1>8 3

12 After spagata they swing heads backwards (coming DS) 16 1>16 4.3

13 24 1>24 4.3

14 | 32 1>32 4.3

15 32 9>40 4.3

16 | 24 17>40 4.3

17 16 25>40 4.3

18 | 16 25>40 4.3

19 24 17>40 4.3

20 \/ till cue 47 32 9>40 4.3

21 32 1>32 4.3

22 24 1>24 4.3

23 16 1>16 4.3

24 16 1>16 4.3

25 rolling light 24 1>24 4.3

26 32 1>32 4.3

27 32 9>40 4.3

28 24 17>40 4.3

29 | 16 25>40 4.3

30 16 25>40 4.3

31 | 24 17>40 4.3

32 32 9>40 4.3

33 | 32 1>32 4.3

34 24 1>24 4.3

35 | 16 1>16 4.3

36 16 1>16 4.3

37 24 1>24 4.3

38 | 32 1>32 4.3

39 32 9>40 4.3

40 \/ 24 17>40 4.3

41 16 25>40 4.3

42 1st row stays 16 25>40 4.3

43 24 17>40 4.3

44 32 9>40 4.3

45 40 1>40 4.3

46 \/ 32 1>24+33>40 4.3

47 = 16 1>8+33>40 4.3

48 After swoosh 42 1>42 0 0.2

49 | 42 1>42 0 1

50 CD 1-7 2:08 40 1>40 15

51 When their shoulders hit the floor 41 1>40+55 0.2

52 When they reach upstage left corner 49 1>40+47>55 120

53 Nico looks at audience LEFT 49 1>40+47>55 20

54 Walk US, foot to SR 6 52>55+58>5952>55+58>59 4

55 | 10 52>55+58>6352>55+58>63 6

56 | 6 58>63 5

57 \/ 8 sec. after 2nd balance 4 60>63 8

58 Applause 6 sec. -> GM!!!!! 51 1>40+47>57 4

59 51 1>40+47>57 4

60 51 1>40+47>57 4

Appendix E: Cue List


Emio Greco | PC

Lighting design: Henk Danner

Technical coordinator:Paul Beumer

Email: [email protected]

Mob.tel: +31 (0)6 14 343 070

Extra dry Symbol Name Wattage Count

USITT Par 64 NSP 1000 86

USITT Par 64 VNSP 1000 3

Cantata 26/44 2000 9

Iris 1000 8

ADB Europe C203 plan 2000 9

ADB Europe C103 plan 1000 6

Appendix F. Light Plan Appendix G. Soft Materials (Doeken)


Part Section Scene Time-code of video Title Directions Position on stage Movement phrase/qualities

1 0.0 0:00:00 Introduction

conceptual / physical introduction on

the performance sharing the theme of

synchronicity

0.1 0:00:00 one/dual body presenting the body, real-fictionmiddle backstage standing be-

hind each other

0.2 0:01:30 solo (two bodies) curiosity, discoveryfacing each other from edges

of stage

1.0 0:11:20 Synchronicity / Unisono

Coincidation in time of two more or less

causal connected actions with similar

meaning

1.1 0:11:34 port des brasone body with four arms, pure ballet

arms

mid stage center standing be-

hind each other

1.2 0:15:25 Bellsinsisting and mechanic movements or legs

mapping bell sound

traveling from left to right

back corner

2.0 0:17:10Syncope / Two trains passing

each other

(the accent changes) the accents moves

by connecting to the next heavy to the

Appendix H: Structure Extra Dry

The geographic center of the performance is the section from Synergy

called ‘Vivaldi’ serving as turning point from Part 1 into Part 2.

On the following table more detailed information on the structure of the

performance is given:


0:18:00 Syncopeopening the space, travelling together,

no accents, endless

horizontal travelling at back

stage

passing through shoulder,

needles, stick, helicopter,

fly sitting, cutting, aureol

3.0 0:22:52 Synergie / Corps de balletIncreased functioning by a combination

of different means

3.1 0:22:52 synergy relation with light, opening space front diagonal right front stage, 5th element

3.2 0:24:14 Flamingo (sitting on one leg) let the light work by itself left back stage corner flamingo, scup

4.0 0:25:14 Syncretisme / Rum Cola

Phenomena in mixing religious (re)pre-

sentations and rites from different ori-

gin into a new religious form

4.1 0:25:28 changing perspectiveconstant positioning of the body , no

stop, never settled

middle stage travelling back

facing backwards

changing perspective, lock-

ing

4.2 0:25:54 diagonal flat constructions in rhythm

travelling from left front

diagonal to back right diago-

nal

chaine action, egypt, first

scape

4.3 0:27:04 aureol back sensing spaces around bodyin diagonal/ front stage cen-

teraureol

5.0 0:27:57Synergy / Prime minister of

Italy versus the pope

cooperation between church and state /

between faith and ration

5.1 0:27:57 vivaldi dance, speed, joy, exhaustion

start bumping on the back

wall, change of light and

sound

flying sitting, 2nd echapes,

kiss, hand scape, walking,

shoulder split, locking

arms


2 6.0 0:30:30 Synchronisation / similarity

Coincidation in time, simultaneous pass-

ing by, total agreement between fric-

tion, phase and frequency.

6.1 0:30:40 sensing each other identities right front stage

6.2 0:33:20 fire works/solo, hitting the body making sounds as

fire works

left front stage/ 1 body in-

side light 1 body outsidefire works quality

6.3 0:38:04 william burrows,listening to each other , being syn-

chrone in the distance

image of one body with dis-

tance in between, 1 back

stage, 1 front

6.4 0:42:27 bells *movement relates to sound quality, com-

ing together againeach in a corner of back stage bells quality

6.5 0:44:57 multiples*

different body parts are active at the

same time, multiple awareness, also to

each other

left front stage corner multiplies quality

6.6 0:47:41 echapes *

quality of scaping, direct movement on

space, guided by the energy of the move-

ments, long towards outside the body

open to all space echapes quality

6.7 0:48:49 zig zagpassing each other the multiple quality

moving in zig zag diagonal upwards stage

travelling up/down through

stage diagonals

different material and daily

actions

6.8 0:49:50 knee walkmapping with the action the sound of the

musictravelling back left stage knee walk

7.0 0:52:18 Synthese / The best ofConnection of separated elements into a

new whole


7.1 0:52:18 looking out,*

no engagement / bianco feeling, light

change cue to go neutral back on stage /

action

step front / almost outside

stage looking at audience

7.2 0:53:32 curieux*

searching, body isolations, reaching the

end of stage, balance and lift the body

endlessly

moving towards back stage to curieux

7.3 0:58:40 end black outstanding side by side right

back corner


Appendix I: References Interviews

— Interview with EG and PC by: Gaby

Wijers, Annet Dekker, Vivian van

Saaze, Scott deLahunta, 16.04.2009,

Amsterdam (audio recording & tran-

script)


Wijers, Annet Dekker, Vivian van

Saaze, 18.11.2009, Amsterdam (audio

and video recording & transcript)


Wijers and Annet Dekker, 08.10.2010,

Amsterdam (audio recording & tran-

script).

— Interview with Paul Beumer by Annet

Dekker, 22.03.2010, Amsterdam (audio

and transcript).

— Discussion on notation Extra Dry

during diverse sessions Gaby Wijers,

Bertha Bermudez, Barbara Meneses

2009/2010

— Interview with Barbara Meneses and

Bertha Bermudez by: Gaby Wijers,

Annet Dekker, Vivian van Saaze,

28.10.2009

— Interview with Barbara Meneses by:

Gaby Wijers, Annet Dekker, Vivian van

Saaze, 15.04.2009

Reviews

— Newspaper clippings and reviews

of Extra Dry

— Folders programma’s 99–00, 01–02,

04–09

— Folders press 99–02 – 31/10/09

— Folders diverse publications

Literature

Bermudez, B. and Emio Greco/PC (eds.)

(2007). Capturing Intention: An interdis-

ciplinary research project around dance

notation, documentation and re-creation.

Amsterdam, Amsterdamse Hogeschool

voor de Kunsten and Emio Greco / PC.

Braembussche, A. van den (2001) It’s life

Jim but not as we know it. A philosophical

approach on Emio Greco / PC’s trilogy.

Amsterdam: Stichting Zwaanproducties

Broek, C. van den ‘Als twee lepeltjes’ In: De

Morgen 8-9-99

Fabius, J. and I. van Schijndel (eds.)

(2007). Company in the School. Between

experiment and heritage. Amsterdam,

Amsterdamse Hogeschool voor de Kunsten

and Emio Greco / PC.

Guatterini, M. Teatro Comunale di Moderna

Programma 04-12-2003, vertaling Mies

Panneman

Morris, D. ‘Greco: nothing to hide’, In The

Scotsman 25.08.2000

Orfano, R. De triomf van het lichaam, Pro-

gramma van het Holland Festival, 12-12 juni

2002 interview Lonneke Kok.

Peeters, J. Stirred, not shaken, In: Veto nr.

30, 10 mei 1999

Putt, F. van der, Purgatorio Popopera,

epiloog Mestreech, oktober 2008

Schlagenwerth, M. (1999). The Echo of

Body. In Ballet Tanz. Yearbook 99. Mani-

cally Charged Presence. A. Lepecki (ed.):

118–123.

Smeets, G. ‘The wake-up calls of Emio

Greco and Pieter C. Scholten’, Amsterdam

Augustus 2004

Start, I. ‘Emio Greco (1965)’ In Dans

(2004)

Veld, W. in ‘t, ‘Emio Greco kiest voor goud’

In: Veluws Dagblad, 7-4-1999

Emio Greco / Pieter C Scholten duits/

engelse tekst met de 7 necessities lit opg

nakijken

Hedy Weiss in the Chicago Sun (3)


Other

Materials provided by Bertha & Barbara:

Part of former glossary, Notation of Hell

(Bertha), Terms used by Laban and dance

analysis (Bertha).

Videoregistration Extra Dry:

Extra Dry 1999, 1st cast compilation

19 min on DVD

Extra Dry 2004, 2nd cast,

full version on DVD

Extra Dry Brakke Gond 4-10-04, dv

Extra Dry Dordrecht 25-2-2006

Copies of sketches, images and texts from

Pieter Scholten’s dossier

Dance and Media, A Research Project on

New Ways of Dance Notation and Docu-

mentation: Reader, EG|PC Bertha Bermu-

dez Pascual

Materials provided by the office: Theatre

plan, Play list, Technical reader

Reader Emio Greco | PC: Reconstruction

Repertory, Style definitions & Innovation.

Notation Sytems & Reflection

www.ick.nl

DVDs of registrations of Extra Dry

Background literature

Adshead, J., (ed.) (1988). Dance Analysis.

Theory and Practice. London, Dance Books

Ltd. (theory)

Broek, Moos van den (2010). Dansen zoals

het geschreven staat TM maart 2010.

Delahunta, Scott and Norah Zuniga Shaw.

Constructing Memories: Crestion of the

choreographic resource. In: Performance

Research 11 (4) pp. 53–62

Delahunta, Scott and Norah Zuniga Shaw.

Constructing Resources Agents, Archives,

Scores and Installation. In: Performance

Research 13 (1) pp.131–133

Eggers, Jessie (2009). Dance Knowledge

– What Bertha Knows, Writing Dancing II.

Hay, D. (1994). Lamb at the Altar. The

Story of Dance, Duke University Press.

Hermes-Sunke, K. (1999). “Reconstruction

/ Recreation: Reflections Practice adn

Esteem of Repertoire.” Experts of ICKL

Proceedings 1999.

Hutchinson Guest, Ann (1984). Dance

Notation. The Process of recording Move-

ment on Paper. London: Dance Books.

Koteen, David, Nancy Stark Smith (eds)

(2008). Cought Falling. The confluence of

contact improvisation, Nacy Stark Smith,

and other moving ideas. Northhampton,

Contact Editions. (particular notation sys-

tem)

Kurihara, N. (2000). “Hijikata Tatsumi: The

Words of Butoh.” TDR: The Drama Review

44(1): 10–28.

Lammert, A. (2008). Von der Bildlichkeit

der Notation

Lehman, Th., (ed) (2002) Schreibstueck.

Lepecki, A. (1996). “How Modern is Mod-

ernism? The Relevance of Reconstruction.

An Essay by Andre Lepecki about the Mar-

tha Graham Retrospective.” Ballet-Tanz.

Leigh Foster, S. (1992). Dancing Bodies.

Incorporation Zone 6. In: J. Crary (et.

al) Bradburry, Tamblyn & Boorne Ltd.:

480–495.

MacDonald, C. (2009). Scoring the Work:

Documenting Practice and Performance in

Variable Media Art. LEONARDO, Vol. 42,

no. 1, pp. 59–63

Nachbar, M. (2009). “Training Remember-

ing.” (on reconstruction)

Nachbar, M. (2002). “Reconstruction re-

visited.”

Rey, Geraldine and Marion Bastien. “Inter-

active Design Project: ‘Labanotation’. (on

notation and reconstruction)

Santone, J. (2008). Marina Abramovi’s

Seven Easy Pieces: Critical Documentation

Strategies for Preserving Art’s History.

LEONARDO, Vol 41, no.2, pp. 147–152

Stewart, N. “Re-languaging the Body:

phenomenological description and the

dance image.” Performance Research 3(3):

42–53.

Thomas, H. (2004). Reconstruction and

Dance as embodied textual Practice. Re-

thinking Dance History: A Reader. A. The

geographic center of the performance is

the section from Synergy called ‘Vivaldi’

serving as turning point from Part 1 into

Part 2 On the following table more detailed

information on the structure of the perfor-

mance is given:


Appendix I: References > Other

Copies of sketches, images and texts from Pieter Scholten’s dossier


Appendix I: References > Other

Copies of sketches, images and texts from Pieter Scholten’s dossier


Colophon Concept / Editors

Annet Dekker, Vivian van Saaze,

and Gaby Wijers

Editorial Advice

Bertha Bermudez, Marijke Hoogenboom

and Scott deLahunta

Thanks To

Amsterdam School of the Arts – Dance

Department

Amsterdam School of the Arts – Research

Group Art Practice and Development

ICKamsterdam – Emio Greco | PC

Netherlands Media Art Institute (NIMk)

University of Utrecht – Theater Studies

Graphic Design

Stephen Serrato

Production

Bertha Bermudez

Publisher

ARTI, Artistic Research,

Theory and Innovation

P.O. Box 15079, 1001 MB Amsterdam

www.lectoraten.ahk.nl

© 2010 ARTI, Artistic Research, Theory

and Innovation and ICKamsterdam – Emio

Greco | PC.

www.insidemovementknowledge.net


Documents

IMK Documentation Model