Writing dancing – This is a writing workshop that interlaces dancing and text-production into one and the same practice. Participants are offered insight into the writing through dancing strategies of the project and from there are encouraged to themselves re-write its narrative. The workshop welcomes participants with and without writing experience and runs four days with the leading assistance of Cristina Caprioli.
Dancing writing – This is a movement workshop that equates choreography with writing. Participants are provided insight into the dancing through writing strategies of the project and given the opportunity to themselves dance the movement material of the performances. The workshop welcomes participants with and without dance experience and runs for four days with the leading assistance of Cristina Caprioli.
Trans_Lab – This laboratory advocates choreography as trans-dispositif, in favor of sustained difference. Specific focus is directed towards the deceptive singularity of scripture, and the drifting tendency of writing. From here on, the working process proceeds by the intertwining of theoretical scrutiny and bodily practice, performed in gestures, texts, movements and imageries, whereby choreography dwells into different materiality, by that also altering its connotations – and itself. Ultimately configuring a narrative that coincides with transfiguration and therefore is unreliably unstable, yet tangibly “here”. The Laboratory provides insight into Cristina Caprioli’s work and welcomes participants from the fields of choreography, film, visual art, architecture, literature, theory etc. The Laboratory runs for four days with the leading assistance of Cristina Caprioli and the ccap team.
HERE BUT NOT HERE LOST LABORATORY IN THE PIPELINE – So far, the project Here, here and here here and here, here here here and here, here. has been a strictly “Swedish” project. Not only does it speak and read in Swedish, but it also “dances” in Swedish, or rather, it is a choreography that articulates, responds to, and is embedded within the Swedish context. Nevertheless, the project claims tthat its choreography is poly-semiotic, thus untied from its constitutive linguistic boundary. The laboratory challenges this claim and asks if the project survives a terrain where not only the Swedish language, but also the Swedish linguistic context is foreign. Moreover, it questions whether this choreography, claiming to be poly-semiotic, hence thriving on difference, can discard valid within the difference embodied by a foreign language terrain.
In other words asks:
How does this choreography sustain its self-induced estrangement when interacting with the foreign?
Can the self-alienated narrative of this choreography exchange its traits with a foreign narrative?
These questions are posed in relation to the sentence: “I have only this language and it is not mine, this language can only be told in this language” (Jacques Derrida), to writing as continuous “re-turn to singularity” (Julia Kristeva), moreover to “Ècriture féminine” (Hélène Cixous’) and its literature (Clarice Lispector etc.). This paves the path of scrutiny for the laboratory, along which “Swedish” bodies, gestures, imagery, places, movements and detours interact with visited terrain. Moreover, since the laboratory aims at trespassing language enclosures, without compromising specificity, it also must reprocess the mediatory strategies of the project, as well as communication at large. Ultimately inducing the linguistic turn able to affirm a choreography keen on exchange built upon reciprocal acknowledgment – foreign to all, dissonant and communal.
More questions emerge:
To what extend does the trans-linguistic bridge mutual incomprehensibility?
What is the range of sensible? And whom does trans-formation speak to?
Finally, how does a crowd of strangers converse “in” and about choreography?
This laboratory dives into these questions and works between languages.
The working process alternates group discussions with individual studies and individual practices with collective grooves. Stories are written and performed. Other moves cross other legitimacies. Films are watched, shot and edited. Choreography is performed and undone, shared and restrained. Every trace is addressed in detail and allowed to proliferate. Sight is thinned out and listening given highest priority.
The laboratory runs for ten days and welcomes fifteen participants from the fields of choreography, film, visual arts, architecture, literature, theory etc. The working process is run collectively, under the leading supervision of Cristina Caprioli, Anja Arnquist, Madeleine Lindh.
Participants allowing, working may occur in public view. Emerged working material is assembled into a digital documentation to be distributed amongst the participants and if wished, with the cloud community.
NB! This laboratory is yet to be pursued.