Why should I remember how that awful Saturday morning felt like
or the freshness of that rain or the smell of that toilet or the warmth of her stories or the loudness of his voice?
I do not understand why I should remember a song I did not like or a cat whose skull was crushed, froth in its mouth, breath strained, heartbeat fading away, gone, gone, gone away into nothing
that I can see.
What is the common factor in dreams and memories? What is the purpose of remembering something that’s by-gone? What is this nature of dreams that defies all rational, moral, “socially acceptable” norms of the waking reality? How is it that every dream becomes such a physical experience, while sometimes waking reality seems like an out of body, unreal experience? Where does the dream end and the waking reality begin? What is the inevitable end?
In her first group piece, conceived for five performers, Indian-born artist Nayana Keshava Bhat’s interest focuses on the remnants left behind by losses, memories and human relationships. She weaves together grotesque scenes using sharp texts, abstract movements and live sound into a dreamlike atmosphere that turns the “Room of Inevitable End” into a surreal trip between reality and fantasy.
INFLUX’s first choreographic production will be premiering at the Sommerszene festival, 2018, in ARGEkultur on 7th of June at 19:00 hrs. This will be followed by a second performance on the 8th of June at 20:00 hrs.
This project is co-produced by Szene Salzburg and büro für tanz | theater | produktionen, Millstatt. It is funded by Stadt Salzburg Kultur, Bildung und Wissen, Salzburg Land Kulturabteilung, Land Kärnten, and supported by ARTSPACE stift millstatt and Toihaus Theater, Salzburg. The production is supported with scientific inputs from Eva-Maria Kubin/DSP Cultural Production Dynamics, Universität Salzburg.