The Other at the Same Time ^{2 0 1 2}

The Other at the Same Time piece relies only on in-forming capacities of the rehearsal, through which performers often achieve stabilization, and a collective understanding. Ferlin emphasizes that, through this kind of rehearsal-oriented-study, one is able to contribute to broader comprehension of knowledge accumulation in interpersonal interactions, both in theatre and life. Furthermore, this kind of research managed to underscore an essential role of gestures in the realm of theatre or performance, as they function as, both, tools and outcomes of the whole process. A segment of his journey, which unfolded amidst nature during a camping expedition in the southern Istria, witnessed the convergence of three local dancers and two of their counterparts from Canada into a stubborn communitas. This endeavour aligns with the central theme of the piece itself, which delves into the notion of community, scrutinizing the dynamics and quality of social interactions within specific social clusters. Notably, this research eschews the textual in favour of the corporeal aspect of the performance. As such, the content of the piece emerges, organically, from genuine situations, which transpired during the collective sojourn of the creative team within the campsite milieu. With a keen inclination towards unearthing the narrative potential of abstract movement, stripped of descriptive traits, and all connotative resonances, as well as its intersection with overtly tangible dramatic dialogue, which functions as a vessel of significance, the underlying ambition is to extend the boundaries of a pre-established construction and audience’s perception. Furthermore, at the heart of this research lies the author’s profound fascination with intricate stage presence, an element crucial to experimental dance. Experimental dance, the one Ferlin envisions, serves as a crucible for pushing the boundaries of performance conventions, venturing onto a new territory, deviated from the preconceived notion of what dance ought to be. The concept and choreography of the play, as well as stage, lighting, and costumes, are all authored by Matija Ferlin, along with the seven performers of the piece. Upon entering auditorium, a stripped-down tableau unfolds, dominated by an expansive white dance floor. Positioned upon it are six performers, kneeling with lace scarves delicately shrouding their heads and cradling peacock feathers within their grasp. Meanwhile, a seventh performer, alternating in this role, stands as an orator, akin to a prehistoric deity being venerated by the group. The ambient, as well as the lighting, is fully muted, while an ethereal glow emanates from an elevated point above, accentuated by the trilling and warbling of birdsong, evoking the ambiance of distant tropical realms. Three female and four male performers are adorned in a tapestry of vibrant hues, their attire ranging from T-shirts and shirts to blouses and dresses, all adorned with floral and feather-like motifs, i.e., predominantly earthy and natural tones that harmoniously resonate with the enveloping soundscape. Encircling the dance floor, each dancer is anchored in their own designated corner, complemented by objects, that will become pivotal in the performance's unfolding, including a light bulb, cables, a pouch of stones, a pail, and an enigmatic bundle of wood. Everything in this performance tends to transcend mere practicality. Richness and living-togetherness of the tapestry in the background epitomizes Ferlin’s choreographic mission, i.e., to (inter)collide the ambiental soundscape of Clara Rockmore, playing Ave Maria on the theremin, an electronic instrument played without physical contact, modulated by two antennas controlling frequency and volume. Individual static poses of the dancers eventually form spiralling movements, as if to in-form a dynamic ensemble, akin to uninhibited tribe. A real dance polyphony, with collective sequences being a rarity, is thus created, an obvious performance communitas, in Agamben’s sense of the word, where gift is being shared among singular entities, but is never being appropriated, as the example to be followed. Example does not only emphasize referring to something, but it creates convergences as well. It is the dance itself, that creates community from a singular example, i.e., it binds dancers in harmony, by creating fleeting moments of convergence within their independent sequences as brief interludes, where individual gestures galvanize the rest. Hence, they almost form a modern tribe, with their hommage directed towards “a deity”, the bestowal of electric light, equated metaphorically with technological advancement. The conflict between group tendencies and individual yearning often occurs, as though one is confronted with a primal narrative where dance, performance, or theatre as such is being born. This abstract choreography authorizes dancers – the real authors of the piece - with the liberty to traverse space, and to communicate, while adhering to choreographic motifs. Their unique signatures adhere precisely upon this dance polyphony, where “communal” sequences remain merely exceptions.