DOSE OF PARADISE
Created in 2020, co-produced by Auditorio de Tenerife.
'Pure virtuosity. Fridman has created a firm combination of series of movements of great intensity that are intermingled with corporal dialogues. The lighting design and its influence on the choreography and music stand out, as if it were the third pillar of the work. A pleasant and special work, with a magnificent representation with moments of emotion and magic.' Ora Brafman
They found each other and gave themselves to each other. They discovered the habit of turbulence, the opportunity to embrace and the fear of loneliness. Staying in paradise was no easy task, staying in the present, without the refraction of the past or the projection of the future.
We all look for each other, all of us on the road, under the uncertain light that perceives us and that blurs the limits of time, directed towards a horizon without memory, towards a full solitude in which love perhaps reveals itself in the heartbeat.
A heart rushes
fleeing into the Other
lost in the meld
Where is paradise?
NATURE OF THE PROJECT
Dose of Paradise was born out of the need to deal with love and the relationship between two people on stage, establishing a dialogue with new technologies that will allow us to find new subjective, emotional and internal spaces in which we can immerse ourselves in the complexity of this matter.
The evolution of human relationships and their potential for fostering harmony continue to be sources of inspiration and a ground for exploration for the Sharon Fridman Company.
Repetition is key in this work, through it is developing the transformation of a state within a cycle. The movement in a relationship, which is born from a need, demands satisfaction on the part of the other. By repeating an action, a gesture, we consolidate a route, and only by taking that same movement to its limit will we be able to bifurcate to another place.
In order to determine the stage space, intense research has been carried out into how new lighting and audiovisual technologies can contribute to the creation of emotional atmospheres and suggest alterations in the passage of time. The dramaturgy of light becomes a fundamental approach, it is a way of materialising energy, which acquires multiple properties and develops its own intentions. It is fundamental to achieve in the spectator a state of openness in which scenic immersion is possible.
DIRECTION AND CHOREOGRAPHY:
Arthur bernard Bazin / Maite Larrañeta
con la colaboración de oficina 4Play
MIZO by Inbal Ben Zaken
Iñaki Ruiz Maeso
WITH THE SUPPORT OF:
Ayuntamiento de Pinto
Auditorio de Tenerife
Comunidad de Madrid
Bora Art Project Seoul