With Rasp Your Soul, Kat Válastur introduces the series “The Staggered Dances of Beauty” in which she reevaluates the production of mythology as a tool to process contemporary questions. The performer in Rasp Your Soul enacts a some sort of a contemporary mythological being. Inside an uncanny environment he unleashes a series of kinetic monuments as altered codes of processed cultural signs. Ruins of language from capitalist digital culture transform into mantras that initiate precarious gestures, fading slang whispers, voice interruptions, molecular kinetics. We encounter elusive identities expressing different types of realness. The space becomes a field of tension between language and the visual connotations of fluid complex demands and input from the outside.
Rasp Your Soul partly a dance piece, partly a choreographed concert, is a manifestation of the elusive. It builds up the narrative of a post-mythological space in which a humanoid with a “sensitive skin” makes us think about our flesh and bones.
Concept, Choreography, Script and Articulations: Kat Válastur/ Performance: Enrico Ticconi/ Set design and Sculpture: Leon Eixenberger/ Light Design and Light Objects: Martin Beeretz/ Sound Design / Music: Bryan Eubanks/ Additional Sound:Kat Válastur/ Choreographer’s and Production’s Assistance: Giulia Amici/ Costume: Kat Válastur/ Costume Assistance: Sofia Vannini/Press and Production: björn & björn/ Touring and Distribution HAU Hebbel am Ufer: Nicole Schuchardt
Production: Kat Válastur/ Coproduction: HAU Hebbel am Ufer, Onassis Cultural Foundation, Theater Freiburg, Kunstencentrum STUK Leuven, Stichting Châtel sur Place Amsterdam/ Funded by: Berlin Senate Department for Culture and Europe and NATIONAL PERFORMANCE NET (NPN)/ Coproduction funding dance supported by the Federal Government Commissioner for Culture and the Media/ With the support of: TATWERK | Performative Forschung, Uferstudios, Tanzfabrik Berlin and ada Studio/ Presented in the context of [DNA] Departures and Arrivals with support by Culture Programme of the European Union
“Creating fictional force fields is elementary in the work of Kat Válastur. How the Berlin based choreographer succeeds to create a highly crafted and subtle outcome though the interplay of sound, light, stage design and choreography is hard to describe. In Rasp your Soul Enrico Ticconi’s powerful performance, we sense every cell of his body to be flooded with the cultural garbage of our digital world, causing strange outbursts that turn him into a cliché of a sex-toy, a narcissus or a wild animal.”
Michaela Schlagenwerth (2018), Taz
“The greek choreographer has not only developed a unique and personal form language, she also works on contemporary social questions. In “Rasp Your soul” she investigates how a digital surrounding influences an analogue body… (Enrico Tricconi performs) a phantasmic creature in a sensual pose… Kat Valastur works expertly with the technological expansion of the body to get to new forms of expression and to show the flaring of existence.”
Der Wolf in uns, Sandra Luzina (2018), Tagespiegel
“For the upbeat of her new work series “The staggered dances of beauty” Kat Valastur creates a liberating experience… In Kat Valastur’s words it is a Solo for a “Humanoid with a sensitive Skin”… She exposes this body like a vast gap between human and art.”
Arn Wesemann (2018), Tanz Magazine
…The performer, with jeans and sports shoes and a t-shirt in the color of the skin reveals an expressivity that permeates us: exceptional flexibility, rich its range vocabulary, and a deeply engaged performing. It is a modern, mythological being that articulates our origins, enigmatic, without linear logic. Every cell of his body is involved in this passage from the “sensory” to the “psychic body”…Changes are steep, accompanied by intense and expressive vocalisations are overwhelming the viewer. The animal is always here and the mouth of the “pure humanoid” becomes a carrier of speech and anxiety. The kinaesthetic experience of the act makes us breath asthmatically as the lights go down and the face, the gestures and the sensitive skin of the humanoid who was breathing before like a tree are lost.
Klimentini Vounelaki, ( 2018) anagnostis
…Válastur deciphers on the basis of the physical tangible sensation and materiality, the contemporary social-digital condition through a staggered movement. A condition that balances between a mythical / animalistic and technosomatic morphology. It describes a multifaceted and contradictory subject, merged and trapped between his social and private performance, a grotesque existence that transcends the gendered features and reciprocates between narcissism and ferocity…The show as a whole manages to influence us like a healing and redeeming experience
Natalia Koutsougera ( 2018), Dancetheater.gr
…Her gaze, one would say, turns towards an anarchic exuberance of the senses, proposing a different delimitation of the dancing body on stage. If the body in the dance is usually a carrier of subjectivity that wants to express itself and to express through feelings or experiences through kinetic forms, in the case of Rasp your soul the body is divided, constantly oscillates in what recalls its animal origin and what verifies his human nature. However, the proposed scenic language skillfully manages to merge these two aspects without giving precedence to one or the other “nature”. The dancer is sometimes converted into a dummy, following impulses that lead him to a heavily charged body, and sometimes resembles a human cyborg, programmed to communicate through a verbal code that instead of transmitting meaning, returns to the basic principle of every language, the body.
Tasos Koukoutas ( 2018),Dancepress
…On s’autorisera à y voir un précis de libre fantaisie, façon pop déjantée, mais quand même une texture sourde et profonde de fragilité méditative, de tentative flottante et horizons ouverts, testée au masculin. Une riche création sonore y fait écho, comme remontant par les pores de la ville, de ses médias, dans la tentation incertaine de produire un discours qui pourrait se tenir, mais n’y parvient pas à l’oreille. On sort tout balloté de cette traversée qui ne ressemble à aucune autre.
Gérard Mayen ( 2018), Dancercanalhistorique
…An inexhaustible kinetic repertoire, a mimetic and “tight” organisation of time, fragmentation, virtual reality and above all, magic and a creation of a new approach of myth on stage: the biological body that eliminates its layers while it transformed into something else, primitive, poetic and at the same time mutant and ultra technological…
Nikos Xenios ( 2018), book press