There are three ways to indicate time in Greek. Kαιρός is the moment of opportunity, the time of action, vision, and encounters. αἰών is the immeasurable time of duration, the image of the irreducibility of experience. Finally, χρόνος is the linear, orderly sequence of moments.
All Around Me languidly dismisses chronological time and plays freely in the instant of καιρός (kairos) and the infinity of αἰών(aeon). This melancholy and fleeting dance, surreal and playful, combines the punctuality of the kairotic event and the uninterrupted aeonian flow.
These two dimensions intersect in a paradoxical place of meaning, without dissolving in the eternity/now dyad, since time stays open to the unpredictability of change in which the form continually turns into something other than itself.
The act is complete; nothing is missing, precisely because it is perpetually metamorphosing. The gesture achieves completeness by finding its balance in transit. All Around Me is a hypnotic dance that with its lack of answers addresses the following question: what are we, with our bodies, in time? It is the realm of anatomy, power through a shape, Ζωή ( the infinite life) exploring βίος (identified corporeity).
In our controlling society, which aims to train bodies and individuals on the basis of the symmetrical functionality of stimulus/response, All Around Me introduces a swerve, it sabotages the mechanism, it creates an interference.
The organic actions and reactions on stage unfold with pointed surprise. In the καιρός the human being is a hesitating and extemporising animal able to interrupt the stimulus/response sequence at any time.
Dealing with the provinces of corporality, sensitivity, and organics in a factual, event-based sense, All Around Me leads to a transfiguration of perception. The space is built according to the logic of variation and perception, which follows anatomical, sonorous, and chromatic compositional principles. Thus the
possibility of experiencing the body in a new way arises, in a world understood as the space of manifestation, attraction and repulsion of bodies.
Thought sinks into the body; there is no thought that thinks the body, nor a body that thinks the ideas; instead, the body compels one to think what has yet to be thought: life, the matter of impulses that runs through the subtle musculature affecting the anatomy.
With its wild delicacy, its objectless desire, its present past, All Around Me stands at the border between heat and light like a summer faintness and the reverie of being only what you are.
All Around Me weaves a fundamental interaction between music and choreography: it combines the precision of each movement with the essential depth of the sound. In terms of rhythm, the piece picks up on the most deeply embedded aspects of the harmony. The music is neither background nor embellishment, but rather the environment inhabited by the choreographic prose.
The relationship between movement and sound becomes microscopically bound, particularly in the miniscule details, the pauses and the silence.
Far from ambient soundscapes and scores of unidentifiable noise, All Around Me presents a piece of music that is both rung and sung at the same time. The soul of the piece is wholly represented by its musical mood.
While the piece was conceived through improvisation, the fixing of the choreography is essential to the expressive function of the finished work. The relationship between movement and sound repeats itself identically, without transforming, at the risk of becoming unsettling. The gestures in the choreography are for the music what cinematographic images are for the rhythm of editing.
A choreographic vision of the dance is thus sketched out, embodying life’s movement itself.
In this seemingly paradoxical relationship with sound, we look for a perfection that is tied to daily life; its possibilities in terms of expression undo the logical chain of predictable events.
The choreography uses the music in a particular way: Like a camera,
All Around Me suspends and isolates natural gestures the way a camera would. The piece poetically reproduces what movement in life happens before our eyes without us ever paying any particular attention. The relationship to the sound becomes unsettling, its precision, barely perceived, serves as support to the element of surprise, the signature gesture of the dance suddenly manifests itself under the guise of a magical game.