Choreography: Carolyn Carlson
Music: Paki Zennard, Michel Galasso
Costume: Maritza Gligo
Special thanks: Studio Atelier de Paris
Total time: 18 min
Premier: 9 August 2002
Still, still sitting across the breakfast table,
Looking at you with vacuous regard,
There was nothing to say, there was nothing to say about anything
Very very simple,
So one day she was free
She left, she took off, she left her purse, her money
Ran through the mud ran through the winds
Farther then the wind above the trees
How many times?
How many times have you seen these clouds?
But this time they covered you all the way
Up to the end of your head.
Unanswered is looking at your self
Where strangeness disappears in wind.
To follow your own
To dance the cosmos
"Talia Paz, transforms her long-limmed
figure and her expressive face in the span between the possible and
the impossible in her solo Dreaming over breakfast. This entirely
new piece can be viewed as an urbane continuation of last year's solo
Water Talk by the Paris-American Carolyn Carlson, who is obviously
inspired by Paz' special ability to let every piece in her body move
independently. Dreaming over breakfast is less lyrical, more expressionistic
and theatrical in a Cullberg spirit, but nevertheless carries traces
of Carlson's repertoire, influenced by zen life-philosophy on the
cosmos which we create around ourselves.
You hear buzzing traffic when Talia Paz in the introduction freezes
in a pose ready to flee, with her back bowed like an animal's and
hands like claws. On the floor there is something reminding you of
a Lager-painting; the colors of imagination which this woman carries
within her. Paz moves along great lines in a rubbery resistance. Even
when she has her back to us she draws her own universe around curve.
A dreamy moment of happiness
Last year Talia Paz made a success with Carolyn Carlson's "Water
Talk" in Vitabergsparken. This year the couple is back with
"Dreaming over breakfast", world premiere this evening.
The piece is funny, poetic and melancholy, dreamy but yet excessively
concrete. Dressed for the office, Paz is standing by the edge, crooked,
bowed. But the arched shape of her back also holds the power of
a cat arching its back, where resistance gives power to be enchanted
by other places, real or imaginary. This dancing monologue begins
with only the noise from city traffic, not a single footstep anywhere.
But you can always dream away: to the lovely nature, to let the
wind lift your body and sway out into a cosmic state for a moment.
The choreography is lacking in fantasy at times, for example the
many arabesques. On the other hand it is difficult not to use arabesques
with a dancer like Talia Paz - they express small, but pleasant
trips away from the piece.
It's impossible to see Talia Paz perform too many times. She is
that kind of a dancer who carries the ability to, through her expressiveness
and radiating presence, share with us both the experiences of the
soul and bodily senses. The dance and the dancer are in a way non-disbanding,
yet they're not.