We invite you to share real-time decision making generated by the score, set up and your presence.
- was written in the evening program of the piece called «only if we meet». Which was not the piece yet. But as soon as there were the title, the credits and the spectators we can accept it as such. That showing would be a reference point around which I will organise my speculation on the future of the dance. I’m saying «future», because I am writing about the dance which not yet happened at least with me, neither as a performer, nor as an audience. It is not at all ambitious statement, even so it might sound as such. It is not at all naive, event though to refer to such universal notion as «future» from the position of my experience and knowledge (more on the page 30) might seem as such.
Writing about the dance I cannot not write about the dance which has not yet happened, because I’m never satisfied with the dance which has happened yet. Writing about the dance is always speculating about its future. Wondering around with those speculations I will share some notes on movements, bodies and scores - common places and generalisation terms I cannot not think about, if I make myself busy with a dance and inescapably with a choreography.
But let’s come back to the piece/project (more on the page 5).
Performers, activated by the score (more on the pages 7-8), unfold the whole new universe - movement, sound, scenography - which is the work. The only elements prescribed are the principles of their decision making. These principles are documented in the form of poetic protocols (more on the page 6). Where poetic responds for ambiguity, while protocol entails procedure.Underlying motive for each ambiguous procedure is interrelation, which encourages the performer to be aware and available, to be ready for (more on the pages 12-17) a meeting. 

We invite you to share real-time decision making generated by the score, set up and your presence.
- was written in the evening program of the piece called «only if we meet». Which was not the piece yet. But as soon as there were the title, the credits and the spectators we can accept it as such. That showing would be a reference point around which I will organise my speculation on the future of the dance. I’m saying «future», because I am writing about the dance which not yet happened at least with me, neither as a performer, nor as an audience. It is not at all ambitious statement, even so it might sound as such. It is not at all naive, event though to refer to such universal notion as «future» from the position of my experience and knowledge (more on the page 30) might seem as such.
Writing about the dance I cannot not write about the dance which has not yet happened, because I’m never satisfied with the dance which has happened yet. Writing about the dance is always speculating about its future. Wondering around with those speculations I will share some notes on movements, bodies and scores - common places and generalisation terms I cannot not think about, if I make myself busy with a dance and inescapably with a choreography.
But let’s come back to the piece/project (more on the page 5).
Performers, activated by the score (more on the pages 7-8), unfold the whole new universe - movement, sound, scenography - which is the work. The only elements prescribed are the principles of their decision making. These principles are documented in the form of poetic protocols (more on the page 6). Where poetic responds for ambiguity, while protocol entails procedure.Underlying motive for each ambiguous procedure is interrelation, which encourages the performer to be aware and available, to be ready for (more on the pages 12-17) a meeting.