“Lang” is concerned with the perpetual expansion of the body in time. An element that corresponds to this perpetual intention is the D.N.A., having a twisting form. When it is projected as a kinetic condition, the body twists. The body moves in a circular way and doesn’t follow the linear movement of physical time, which impose the forward walking process. Thus the body of the performer moves in continuous turns. The movement, and its transformations, take place with scholastic precision (frame by frame), compared to organic patterns like the pulse, the breath, the turning of a wheel, the circular movement of dawn and sunrise, the circular movement of life… and death. The body of the performer moves in relation to another body also moving in continuous turns. The relation between the performers could be described in the way twins look alike but no one can tell which one looks like the other. In that sense the two performers are the reflectors of world’s reduplication.

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Concept and choreography: Kat Válastur/ Mentoring: Guy Cools/ Dramaturgy: Nikos Flessas, Marialena Mamareli/ Light designer: Nysos Vassilopoulos/ Costumes: Benjamin Klunker/ Original music score by Antonis Anissegos/ Performance by Kat Válastur, Nikos Kamontos, Ana Laura Lozza/ Supported by Hellenic Ministry of Culture and Inter-University for Dance Berlin

“Au cœur de ce vertige circulaire apparaissent des « restes » de danse, rappelant un rock fantomatique, ou un obscur moonwalk. Capturée dans une ronde sans fin, la présence de ces silhouettes en miroir est rendue plus inquiétante encore par le crescendo qui les saisit : petit à petit, le tempo s’accélère, un emballement gagne la scène, faisant disjoncter la mécanique du twist, et les entraînant vers l’entropie. Lang : une épure chorégraphique en forme de boucle folle, où d’étranges figures jumelles « réfléchissent la reproduction du monde ».”

Rencontres chorégraphiques internationales de Seine-Saint-Denis : Kat Válastur, Gilles Amalvi (2012),

“I look back at Lang and see a piece that itself takes a long time to developinto itself, using repetition as a form of de/composition – which leaves the spectator with an experience unlike any other, intellect confused, surprised, aroused through the body’s ability to understand (which is why the experience per se is means to an end).”

call it review no.1 – On Observation, Pavle Heidler (2012),

29 March - 2 April 2017HAU Hebbel am UferBerlin
27 - 28 APRIL 2012Spring Dance Festival
5 FEBRUARY 2012L'apostrophe Théâtre des LouvraisPontoise
24 NOVEMBER 2011Espaces PlurielsPau
1 OCTOBER 2011Tanzquartier WienVienna
26 AUGUST 2010B Motion FestivalBassano del Grappa
15 MAY 2010The PlaceLondon
27 NOVEMBER 2009System Athens FestivalAthens
21 NOVEMBER 2008New European Dance Festival
12 - 14 NOVEMBER 2008 (Premiere)Chora TheatreAthens

Speaking henceforth about my personal way of making artistic work, being sensitive to the pressures history, time and society exert, I start from the impetuous negative feeling of suffocation forcing me to shout. I try to articulate this scream, by restraining and forcing it to produce (create) a multiplicity of vibrations inside the body which will motivate it in a series of endless kinetic units which I call ‘dance units’. Thus I discover my personal language -insisting in its essential qualities, precision, acuteness and thrift – which is grounded in an uninterrupted process going from a personal need to an artistic end.

Diagram for Lang, 2009
Diagram for Lang, 2009