An arrow hits a tree in a forest. The hit sets the arrow into an infinite vibration. The vibration creates ripples on the still water and disturbs its surface. At that moment, Diana, the goddess of hunt and protector of flora and fauna, falls dead. This violent redirection of the myth and its historical course creates a new mythical time-space. Diana now exists simultaneously as hunter and prey, killed and reborn. In Kat Válastur’s new choreography the four dancers Xenia Koghilaki, Malika Lamwersiek, Ogbitse Omagbemi, Tamar Sonn and four polyphonic singers from the Greek female vocal group Pleiades embody these circles of action bring the archaic into the present, on a stage created by Leon Eixenberger and with the light design by Martin Beeretz. “Diana, Even” takes the event beyond mythical construction and thus suggests a new reading of History that integrates mythical and historical space into the reality of womanhood.
Concept, choreography: Kat Válastur/ Performance: Xenia Koghilaki, Malika Lamwersiek, Ogbitse Omagbemi, Tamar Sonn / Singers: Pleiades Vocal Group (Aliki Atsalaki, Stella Grigovits, Vassula Delli, Eirini Kyriakou) / Lighting design & technical director: Martin Beeretz / Stage design: Leon Eixenberger / Lighting design assistance: Vito Walter / Assistant stage design: Cecilia Nercausseau Gibson / Sound design: Cesar B. / Sound design assistant and sound engineering : Vangelis Tsatsis / Choreographic assistance: Lena Klink / Costumes: Marie Gerstenberger/ werkstattkollektiv / Dramaturgical advice: Filippos Telesto, Yiannis Papachristos / Production management: Sina Kießling / Touring & Distribution: Nicole Schuchardt
Production: Kat Válastur- Co-production: HAU Hebbel am Ufer, NEXT Arts Festival (Kortrijk), Points communs / nouvelle scène nationale Cergy-Pontoise / Val d’Oise. Funded by: Berlin Senate Department for Culture and Europe, Hauptstadtkulturfonds.
…one must strip off the casual clothes of contemporary life, and immerse oneself in the nudity of a rite of initiation with a mystical-religious flavour, finally returning to a new and mature individuality, underlined by the colourful diversity of the clothes worn by the performers and singer at the end of the piece. A performance in the name of essentiality that leaves its mark, leaving us hoping for further positive comparisons by its already established choreographer
Marta Mele, 15 October 2023
…The four polyphonic singers first perform backstage then interact with the four performers. In the finale, together as one body, they walk towards the audience through that organic, material space. Just like Diana’s (matter), Diana, Even goes through different states, making passages that lead to an indefinite, disturbing, hypnotic and electrifying dimension. A material and evocative dance work that leaves no space or choreographic complacency but destabilises, offers opportunities for discussion on the themes proposed and possibilities for “a physical and spiritual transformation”.
DanceHall News, 9 October 2023