Nóra Bükki Gálla
The architect’s eye looks for the mechanism that makes things work, the structure behind the form. In a performance that connects theory and abstraction with the reality of the stage, Filiz Sizanli attempts to show us how the conventional usage of stage space can be challenged, while playing with the interchangeability of dimensions. Drawing a parallel between dynamism and stability, science and art, we find new ways to explore, analyze and describe motion.
How do we position our own body to the constructed architecture that surrounds us? Why do we consider some structures, objects, environments as hospitable and others as inhospitable?
The Turkish dancer and choreographer Filiz Sızanlı invites the audience in her new solo Site to a white cube, where she examines the relationship between architecture and power. Surrounded by thin white fabric walls that are open to the audience her body is already part of the stage design. The first movement sequence follows the principle of constantly looking up to the ceiling. Her head disappears, we just see her throat and chin, her body looks distorted. Starting with small finger and arm movement she slowly gets up from a sitting position and starts to move through space. Something weird is going on in her body, as if she was unable to walk “normally”. Suddenly also sounds are coming out of her. She repeats the vocal ”A” and sends it up like air bubbles. The vocal utterances slowly transform to words. Sızanlı is talking very quietly, sometimes just moving her lips, we can just pick up some fragments of Turkish language. She is now lying on the side of her body with bend legs, facing the audience, pretending that she is sitting on a chair. The dimensions of space start to drift apart, an imaginary space opens up denying reality. Read more