_ The constant horizontal movement (on ice-skates doing big circles) is also a new way for me to question how I work with gravity and grace horizontally, which I usually do much more vertically with my discipline of the aerial straps.

Inspirational link: Grace and gravity, a talk from Tomas Saraceno:​


_ the simple circular continuous movement made possible by the ice skates restrains my agency as human to better allow the agency of the glass to raise and thus making the influence of the material visible. 


_ to limit the agency of the performer but still allowing interactions between the performer and the material of glass: should there be someone/something else provoking the interactions ? a technician, elements (wind, water, fire).

_ working on infinity in its materiality. 

Inspirational link: Ann Veronnica Janssens:

_ starting the piece with the idea of artificiality (the audience clearly sees that we are dealing with a fake ice rink in plastic). Going towards the notion of infinity (thanks to a repetitive fluid choreography getting close to the idea of trance and some technical elements like light and other effects).

Are we going back to artificiality at the end of the piece ? instinctively I would say yes. It shows the awareness of the trickery of the dream.

_ other readings and links:

    -  book: The Art Of Cruelty, A Reckoning by Maggie Nelson. 

    - Vibrant Matter by Jane Bennett (book) but talk on this link:

    - text on How to make a choreography for non human performers by Mette Ingvartsen:

    - lectures of Bruno Latour:

    - (self advertisement) article from Bauke Lievens and myself in the book Thinking Through Circus by The Circus Dialogues. 

    - book: Sonic Agency: Sound and Emergent Forms of Resistance - Brandon LaBelle


I would like to thank Laura Gilles-Pick and Bauke Lievens for their conversations with me allowing those thoughts to emerge.

© 2020 Camille Paycha

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