hy deals with miniatures. How has the idea of this theme appeared?
I am fascinated with the magic of detail, rigour and care. Miniatures are extremely well made small-scale portraits and figures and they evoke all these characteristics. They opened a door to a world of small dimensions and I felt like diving into it and create a delicate universe where the tiniest thing would be important, without forgiving the sense of humour.
Are tiny things and details important in your perception of the world?
Yes, definitely. Detail is one of the axes of my choreographic work, together with physical power, risk, subtlety and physical imagination. And in Miniatura I decided to give detail the main role of the piece, starting already with the title. I think details and all those little things that need attention are what really give significance to the events at the end. The essence of everything can be found already in the smallest proportions.
Could you explain the theme of manipulation, which is also present in your choreography? What does manipulation mean to you?
I was fascinated by the notion that nowadays everything can be modified. Even pictures can be changed, which in turn means that memories can be changed as well. ‘Manipulating’ means to provoke a change into something and to handle something. Departing from this idea, I took manipulation in a very playful way and structured the piece as a manipulation gear with all the elements on stage: movement, video, music and the space. So we play with the other’s body as an object, moving it, changing its positions, making it work like a mechanism. We also play with the dimensions of the space and the body through real time video image. We play with movement through repetitions and variations; we play with music, deconstructing it note by note. We even manipulate the technical stuff we have on stage, touching cables, etc.
Do you have any experience with Czech audiences?
Yes, in 2007 I was invited to Tanec Praha festival with my solo The lizard’s skin. The Czech audience was very warm and close, I felt like home.
Do you have any experience with Czech contemporary dance?
Yes, I have shared stage with dancer Dora Hostová, who I have a lot of respect for. I also know dance company Nanohach: I had the pleasure to invite them to a dance festival in Barcelona I directed in 2006 and we were all impressed by their fast and precise dance.
Interview with Roser López Espinosa, the author of choreography Miniature
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hy deals with miniatures. How has the idea of this theme appeared?
I am fascinated with the magic of detail, rigour and care. Miniatures are extremely well made small-scale portraits and figures and they evoke all these characteristics. They opened a door to a world of small dimensions and I felt like diving into it and create a delicate universe where the tiniest thing would be important, without forgiving the sense of humour.
Are tiny things and details important in your perception of the world?
Yes, definitely. Detail is one of the axes of my choreographic work, together with physical power, risk, subtlety and physical imagination. And in Miniatura I decided to give detail the main role of the piece, starting already with the title. I think details and all those little things that need attention are what really give significance to the events at the end. The essence of everything can be found already in the smallest proportions.
Could you explain the theme of manipulation, which is also present in your choreography? What does manipulation mean to you?
I was fascinated by the notion that nowadays everything can be modified. Even pictures can be changed, which in turn means that memories can be changed as well. ‘Manipulating’ means to provoke a change into something and to handle something. Departing from this idea, I took manipulation in a very playful way and structured the piece as a manipulation gear with all the elements on stage: movement, video, music and the space. So we play with the other’s body as an object, moving it, changing its positions, making it work like a mechanism. We also play with the dimensions of the space and the body through real time video image. We play with movement through repetitions and variations; we play with music, deconstructing it note by note. We even manipulate the technical stuff we have on stage, touching cables, etc.
Do you have any experience with Czech audiences?
Yes, in 2007 I was invited to Tanec Praha festival with my solo The lizard’s skin. The Czech audience was very warm and close, I felt like home.
Do you have any experience with Czech contemporary dance?
Yes, I have shared stage with dancer Dora Hostová, who I have a lot of respect for. I also know dance company Nanohach: I had the pleasure to invite them to a dance festival in Barcelona I directed in 2006 and we were all impressed by their fast and precise dance.
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Thank you for your thoughts. One got stuck in my mind – that passion makes us different from AI. Just yesterday I read…I am a dance critic. I am a member of an endangered species