A project imagined by Melissa Raymond:
Laughter. One would say he remembers. He walks, tries again, doubts, doesn’t make it to the end of the movement. He finds. Repetition, a bit of a slow-down towards the end of the sequence. He walks in circles, stops. Repetition, short sequence interrupted. He gains confidence.
Walking. Displacements. Walking around seems to be for him a way of reconnecting with the movement, with his memory. Walking becomes a certain motif. Could it be a way of placing the pieces of the sequence in space? Of respatializing?
Head bent, a moment of wandering. The body swings, slows down. The gestures are made with the minimum of muscular tonus, as if to recognize the previous form and leave space for remembering what follows. Thinking while doing. A movement appears. Yes! He remembers. Time accelerated. He reviews the extract as to finish it with this section that he already knows and go to what follows; to force the body to go to what follows. Attempt. Error.
Stop, restart, come back. Inner look, downwards. Comments, difficulties. He stops. His forehead glows. What strategies does he turn to when there’s a blank? How do memories come back? From the act of doing? He redoes the same part of the sequence. A retake of the movement. Isolate the moment. It comes back. State of remembering. The ability of transporting oneself to a specific location in a specific time.
I see another language that develops, that inserts itself within the original choreography; another dance that is created within the interstices of memory, that accompanies, like a subtitle, the effort of memory. What I observe is the task of the dancer that tries to remember and reembody a sequence of movements. The body that searches.