Lucy M. May takes a slow, deep dive into Fake (2009) by Mélissa Raymond. Drawing on memories of sensations and emotions, the dancer recalls excerpts from the piece.
“It’s like a particular bodily state is required to receive the language,” she says. At the same time, she explains that she no longer moves like she did during the creation, since her body and her being have changed since then. She sees the search for the gesture as lying not in imitation but in truth. A sensitive inquiry by the dancer in dialogue with the choreographer.