This performance takes place in the context of WIPCOOP, a platform on the lookout for new urban artists, that presents work-in-progress by unknown talent.


When I first invited the dancer Elizabeth Ward to work on what would become this piece, I did not know what it was going to be „about“ or what form it would have. What I did know, was that we were in March 2017 and that an unfathomable year had preceded on a national, international and personal level. In November 2017 electronic musician Frédéric Altstadt joined us. And today I am performing it as a duet with Tarek Halaby. There are all sorts of things I could say here about political and private discomfort I have felt in the year that followed, as an actress, as a woman, as a daughter, as a Jew, as a lover, as a human, but I’m trying to keep this short. What I can say, is that it felt as though I perhaps have finally and fully entered adulthood. 

 

"Maybe I have never made a piece that was not about identification and it’s complexity. About positioning oneself. About how one thing leads to another. About how one person connects you with the next. Maybe I have never made a piece that is not about process. Maybe I have never made a piece that is not about time. Maybe I have never made a piece that is not about history. Maybe I have never made a piece about how no canvas is neutral. Maybe I have never made a piece that was not about displaced biographies. Maybe I have never made a piece that was not about absence.  Maybe I have never made a piece that was not about travel. Maybe I’ve never not made a piece that was about Belgium, about where and how I live. Maybe I have never made a piece that was not about the notion of home. Maybe I’ve never made a piece that was not about the notion of family. Maybe I have never made a piece that was not about the limits between the self and the outside world, about relating. Maybe I have never made a piece that was not about a relationship. Maybe I have never made a piece that was not about desire. About the sacred. Maybe I have never made a piece that was not about the body, my body, a body. Maybe I have never made a piece that was not about health. Maybe I force myself to never make a piece that is not a confrontation about making a piece, about when I was making the piece, with whom and where, about how I was making that piece. In what conditions. Maybe I have never made a piece that was not about safety. Maybe I have never not made a piece about what I previously thought one should not do in public. Maybe I have never not made a piece that was not about speaking to each other. About silence. Maybe I have never not made a piece about love. About making peace. Perhaps I have never made a piece that was not about I and you."

 

I’m curious about the first person singular in a performance situation: Where is it a clearly defined space around an individual but still open enough territory so that your „I“ resonates with my „I“? Which „I“ can we share? Who and what speaks when we say “I”?
I’m also interested in how using „I“ gives full responsibility about content to the person saying it. States a clear position. Makes it political and intimate at the same time.
For March I was interested in asking: What happened so that you and I are together in this precise moment, in this space, in front of this audience? What are you feeling? What echoes? What travels through our bodies? What is a conversation? On what other levels can we communicate? What is an exchange? What is the beauty of control and what is the strength of it’s release? How can we share spaces? How can we look to the future together? Where can we find humor? Or what are other ways to survive?

 

CREDITS

idea & concept Nathalie Rozanes creation Elizabeth Ward, Nathalie Rozanes, Frederic Altstadt performance Tarek Halaby & Nathalie Rozanes text Nathalie Rozanes, Tarek Halaby & Elizabeth Ward sound Frederic Altstadt & Jean-Noël Boissé choreography Elizabeth Ward & Tarek Halaby space & light Simon Siegmann dramaturgy Jellichje Reijnders assistant Solène Valentin with the support of the Flemish Community Commission (VGC) & workspacebrussels thanks to WIPCOOP / Mestizo Arts, CAMPO, Elsa Lévy, Lucie Guien, Tunde Adefioye, Sofie Kokaj, Julie Calbert, Pol Heyvaert, Anne Meeussen, Thomas Depas, Judith Van Oeckel, Hedwig Snoeckx from Zephyr Wildlife & Marnix Rummens

BIO

Nathalie Rozanes (Zürich, 1986) is an actress, performer, director, and writer based in Belgium. She has performed across Europe for film and staged in projects by directors such as Claudia Bosse, Ziad Doueiri, Lucie Guien, Sofie Kokaj & Ted Tremper. Currently, she is writing a feature film project called Ushuaia produced by Neon Rouge Production, Brussels. Her solo Francesca, a tribute to photographer Francesca Woodman, premiered at Théâtre National in Brussels in 2016. March was developed at workspacebrussels. Nathalie graduated magna cum laude from INSAS in Brussels (2011) in acting. She has written lyrics for various musicians such as Sanja Maas, Caroline Cohen and Verveine and has been published by Soirée Berkson (Vienna) and This Container Magazine (Stockholm).