Mikel and I met during an improvisation project of our students. It was such an interesting experience that we decided to collaborate on a new work. I already had many ideas that I was working on and when I heard some of his recent compositions I realized that they fit perfectly with the spirit of what I was looking for. He has written the rest of the music specifically for this work.
It's an absolute luxury to work with musicians like Mikel Gaztelurrutia and his trio. It's very complex music but at the same time very eloquent. Each piece has revealed its secrets to me, its cadences, suggesting dramatic development, leading me through choreographic structures that are very new for me. The fact that improvisation is such an important part of this music is a very exciting challenge: on the one hand there is the risk of the dance being supported by music that is played differently each time; on the other hand there is the struggle to capture the brilliance and spontaneity of the music in even the choreographed movement, which seems to be a contradiction but is in fact what I consider to be the ultimate goal of choreography and what I always strive for in movement; and finally, the opportunity for the dancers themselves to improvise in various parts of the piece, which I feel is very important, above all in this work which is about the search for one's own voice.
I was interested in the idea of adolescence as a basis for a piece for two reasons: first because it seems to me such a powerful moment, so full of passion, of changes. I saw the dramatic potential here for the development of a very vital and dynamic work. And second (but not less important), I wanted to address young people directly in their own language, that is, viscerally and not intellectually. Dance has the power, especially when it is accompanied by live music, to impact directly without being filtered by judgement. I am not interested in acting out or imitating adolescents' lives but in abstracting their psychological reality, which is really like all of ours but much more overpowering. I think there are very few artistic expression directed towards young people and that they are in need of inspiration, to see themselves reflected on the stage, but not in their literal, recognizable existence, but from angles that they hadn't seen themselves. They need to be exposed to complex aesthetic experiences that draw them in and leave them wanting more. I hope that they leave the theatre different than how they entered, stirred, moved, and with a lot to think about.
Becky Siegel. Olaz, August 25, 2010
At a dizzying pace, Tempomobile's newest work explores adolescence, examining its conflicts, celebrating its energy: the search for identity; the need to escape; our individual battle with our inner demons; the struggle to find our own truth, to remove our armour.
The original score is played live, and alternates between jazz and rock, wildness and calm, tension and spontaneity, creating the base for a dance that is intense, dynamic, and passionate.
At last, the young and not so young will all find ourselves reflected in this search for our selves, so this work is dedicated to the restless, rebellious, confused, dreamers, and passionate of all ages.