WeTheClique – LOW AIR Vilnius city dance theatre

FESCH.TV INFORMIERT:

Creative team:
Idea, choreographer: Airida Gudaite
Dancers: Greta Snitkutė, Arminas Kazanavičius, Rokas Bugys, Ugnė Laurinavičiūtė, Grėtė Vosyliūtė, Elena Milaknytė,
Beatričė Šaltenytė, Emilija Giedraitytė, Barbora Mickutė, Aura Šriubšaitė, Saulė Bučiūnaitė, Smiltė Kavoliūnaitė
Director: Jonas Tertelis
Composer: Agnė Matulevičiūtė
Scenographer: Renata Valčik, Emilis Šeputis
Light designer: Julius Kuršys
Producer: Laurynas Žakevičius
Manager: Gabrielė Kundrotaitė
Production: Low Air Vilnius city dance theatre
Photo by: Vismantė Ruzgaitė
Duration: 60’

Adolescents ’life experiences are told through their own voices, bodies, and movements. In preparation for the performance, teens document their thoughts and accumulate movement vocabulary. The movement vocabulary does portray the archives of their body memory whilst getting acquainted with street styles and contemporary concepts. Introspection and observation – inseparable creative methods in the course of which the adult professionals, without imposing a personal narrative capture teen outgoing information.

In an equal process, stories unfold between teenagers and professional adult artists – intimate and often „awkward“, as if asking where the boundaries between the two generations of worlds are, why sensitive stories often remain silent or unheard. The performance highlights the different power positions of two generations – the transcendence of boundaries or the unquestionable status quo. Thus, the audience of the performance is not only teenagers but also adults, parents, teachers who are invited to reflect on the connection between boundaries and power in interpersonal relationships.

In order to have an open and direct dialogue with the viewer, the creators place the performance on stage portraying it’s a gallery – a conditional space that highlights individuality and gives the viewer the freedom to choose the path to physically travel through different rooms of teenage „states“. The individual stories and problems in the performance are intertwined with the collective experience, at least to some extent publicly beneficial to the worldview of young people. Participating in performance is tantamount to entering their personal space, where different confessions eventually thicken so that they intertwine like a dream in which they can stand firmly or seek a way only by being together and being together. The fragmentation of the performance creates a space to recognize, experience, and together create an authentic shared experience.