Creation 2026

The first encounter between our two companies – a period of two weeks where ZOO introduced some of their improvisational techniques, that are designed to broaden the movement vocabulary and to interact spontaneously in intricate ways with other dancers, the space or the music – triggered the interest of the participants to deepen the experience of this resolutely creative, collaborative, interactive approach to movement and to choreography with a small group of dancers from both companies, 6 people, one half of them from each company, and imagine and develop performative form for the stage.

Beyond the obvious political act of integrating people with different abilities in performances, for audiences to be able see and experience people that are still way too often out of sight in most of our every-day-lives, our interest and a starting point for this project is actually the gaze of those who so often find themselves at the margin of our society and of the dominant cultural life. Rather than integrating people with disabilities into the conventions of a dance culture developed by and performed for non-disabled people we would like to discover what contents and aesthetics would emerge if this premise is turned around as much as possible. The Platform K dancer’s desires as spectators, performers, creators will be one of the main departure points for this project whereas the ZOO methods for improvising and developing material, who are in their essence non-hierarchic, flexible and lend themselves to be filled in from diverse angles and experiences, can be utilized to develop the material further physically and compose it in time and space.

These concerns are also expressed by an eclectic soundtrack. Most people have strong emotional attachments with certain music pieces or songs. We will collect and combine such pieces of music from the personal experiences of all the performers as a tangible, sensorial departure point. Music and other sounds can be used as a source of energy, a trigger of emotions, a generator of movement, as a principle for organizing space and time and, like film music, as an element that directs or suggests the dramaturgical development and influences the perception of the spectator.