Let Me Die In My Footsteps

Let Me De In My Footsteps (2015)

Aerowaves 2016 top 20

In "Let me die in my footsteps," the choreography unfolds as a captivating exploration of crisis, with four dancers serving as embodiments of the tumultuous departure that marks the beginning of an enigmatic odyssey through conflict and resolution. Renowned for its ambiguity, the performance invites the audience into a realm where the visceral physicality of the dancers collides with a soundscape meticulously crafted by Gasper Piano. This sonic backdrop, despite its subtlety, weaves a tapestry of emotions, evoking a delicate sense of nostalgia that resonates with the multifaceted themes presented on stage.

Renan Martins, in his latest creation, aspires to craft a dance piece that transcends conventional boundaries. Here, the choreography strives to embody a pure form of movement, a dance language born out of the inherent necessity of unity, even amidst the clarity of adversity. Martins' artistic endeavor is a testament to the resilience of the human spirit, emphasizing the power of togetherness as a force capable of surmounting challenges and adversity.

Choreography

Renan Martins

Created with and performed by

Benjamin Pohlig

Gasper Piano

Karolína Hejnová

Martina Hajdyla Lacová

Soňa Ferienčíková

Understudy

Helena Araújo

Music

Gasper Piano

Costumes

Victor Perez Armero

Production

ME-SA, BOD.Y and Seventyseven vzw

In Collaboration with

Studio ALTA and Stanica

PRESS

“To be sure, it is one of the more progressive works of contemporary dance: interesting, powerful, thoughtful and well done.

(...) The choreography is not divided into solos, duets or trios; instead, these four dancers are held together throughout the whole show, and a sort of reciprocal pressure drives them; the dancers lift each other, squeeze and move through space together. This concept takes long enough to make the viewer stop questioning its meaning and how it relates to the chilling name of Dylan's song. Long enough to connect to that strange quartet, and further only take the ride with them and listen to what they say with their bodies and what can not otherwise be said. When they finally stop, Gasper Piano takes it in his hands with a guitar and a sampler on stage and all that kinetic energy pours into the music. Then the dancers return to release the concentrated pressure and explode into ecstasy. One feels that if you just moved your hand, the stage would start to ripple. If only things could change so easily.”

Katarina Zagorski, Dennik

“Movement is no longer contained or repressed, but expands onto the space of the stage: the dancers fall to the ground and quickly rise, jumping and crashing their bodies together in the air. Soon they start talking to each other, although the roaring sound of the electric guitar drowns them out. They move like an avalanche, and in that instant the dancers take the audience with them, pass their energy onto them. Nobody at that moment remains untouched and the obvious joy of movement is contagious.”

Lucie Kocourková, Opera plus

Old Dates