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IMK Documentation Model<Introduction>Page 1 of 75
IMK Documentation ModelPage 2 of 75
Extra Dry (1999) EG|PC Emio Greco / Pieter C. Scholten
Inside Movement Knowledge (IMK)Documentation Model
Gaby Wijers, Annet Dekker and Vivian van Saaze
IMK Documentation ModelPage 3 of 75
Table of Contents Introduction
1. Context 1.1 EG|PC The company
1.1.1 The International Choreographic Arts Centre Amsterdam
1.1.2 Salons
1.2 Emio Greco I Pieter C. Scholten
1.2.1 Biographies
1.2.2 Collaboration between EG|PC
1.3 Artistic Team
1.4 Important concepts
1.4.1 The Seven Necessities
1.4.2 Implications of the Seven Necessities
1.4.3 Glossary
2. The Work Fra Cervello e Movimento: Extra Dry2.1 Description of the work
2.1.1 Fra Cervello e Movimento: Extra Dry
2.1.2 Title
2.2 Structure of Extra Dry
2.2.1 Score
2.2.2 Extra Dry Parts
2.3 Meanings of the work
2.3.1 Fra Cervelle e Movimiento
2.3.2 Extra Dry
2.3.3 The Seven Necessities with regard to Extra Dry
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3. Phases and Parameters3.1 Different phases in the creative process
3.2 Parameters of change
3.2.1 Dancers
3.2.2 Space
3.2.3 Time
3.2.4 Audience
4. Prerequisites for Reconstruction Extra Dry4.1 What dancers need to learn
4.2 Warming Up
4.3 Installation
4.4 Workshop
5. Staging / Scenography5.1 Collaboration artistic team
5.2 Stage
5.3 Cues
5.4 Light
5.5 Sound
5.6 Computer/Software
5.7 Costumes
Appendix A. Biographies EG|PC (ICK Aanvullen)
B. Team Extra Dry (Gaby)
C. Play List
D. Technical Rider
E. Cue List
F. Light Plan
G. Soft Materials (Doeken)
H. Structure Extra Dry
I. References
IMK Documentation ModelPage 5 of 75
‘The forms that documentary work assumes are as numerous as the needs from which they are born.’Suzanne Briet, What Is Documentation? (1951)
IMK Documentation ModelPage 6 of 75
Why a Model?
In the context of the interdisciplinary Inside Movement Knowledge1 project, the research team
from the Netherlands Media Art Institute2 (NIMk): Gaby Wijers, Annet Dekker and Vivian van
Saaze were invited to explore the possibilities of developing a generic documentation model
for contemporary dance by drawing from their experiences in the preservation, documentation and
knowledge transfer of media art. What do we need to know in order to be able to recreate, re-
perform, or in other ways bring the performance piece into the future? The key objective of
the NIMk research team was to develop a methodology that allows to gain insight into artistic
reasoning in such a way that it provides future dancers, choreographers and researchers an
understanding of their work.3
1 http://insidemovementknowledge.net/2 http://www.nimk.nl3 The term ‘artistic reasoning’ here is used in relation to the body of knowledge that is involved in the artistic process. We use the term artistic reasoning to place emphasis on the decision-making and problem-
Introduction
IMK Documentation Model<Introduction>Page 7 of 75
Right from the start, the research team decided to focus primarily on the case study Extra Dry,
a seminal piece which has been performed in several versions. Extra Dry is the third part
of the trilogy Fra Cervelle e Movimiento (translated as: Between Brain and Movement). Fra
Cervello e Movimento is a set of three performances — Bianco, Rosso, Extra Dry. Where Bianco
and Rosso are solos Extra Dry is a duet, the first big stage co-production and staged for over
10 years with different casts. In capturing the artistic process, questions that emerged are:
What are the essential elements of this work (in its ‘finished’ condition) that should be
captured so that the documentation better reflects those invariable properties that make Extra
Dry the performance that it is. How do new performers or changes in music, lights, and set
effect Extra Dry?
This model is a work-in-progress and part of ongoing research. During the research period the
model has been adjusted and refined. The IMK-laboratory week of April 2010 has been dedicated
to collecting information, as well as to gathering and processing feedback from IMK partners,
the international advisory team, and external specialists.4 The feedback on the concept model
has proved to be very valuable and has helped to further develop the model into a useful tool.
Interestingly, all feedback groups valued the model for different reasons and expressed the wish
solving that is inherent to the artistic and creative process. Yet, rather than following the artistic process ‘in real time’; we have focused on tracing and documenting information that provides insight into artistic reasoning through interviews, literature research and by comparing respective performances of Extra Dry. 4 Feedback groups: EG|PC: Bertha Bermudez and Barbara Meneses / Utrecht University: Maaike Bleeker and Laura Karreman / AHK dance teachers: John Taylor. Maria Ines Villasmil, Vivianne Rodrigues / linguist: Carla Ferndandes / dramaturges: Fransien van de Putt and Andrea Bozic / dance scholar: Jeroen Fabius / international experts: Caitlin Jones, Reinhard Beck, Sami Kallinen.
IMK Documentation Model<Introduction>Page 8 of 75
to use and further develop the documentation model for their own practices. Thus, although the
model as presented here is an end-result of the IMK research as carried out by the AHK and
partners, it should also be considered as a point in an ongoing inquiry, and we hope that it
will be scrutinized and further developed by a manifold of different users.
Objectives and Challenges
In order to narrow the project down, we decided not to look into representation of movement
/ body analysis or visualization of movement dynamics that underlie the structure of the
performance. For the transfer of EG|PC’s movement vocabulary and method, the installation
Double Skin / Double Mind and the video-registrations are, in our understanding, the instrument
suited for movement transfer. Thus. the model should be understood in addition to the
installation and video recordings. Although current documentation research in media art is
expanding to include user/spectator experience, in the scope of this project, we have not been
able to include the relevance and mapping methods used for this live element of media art.
Our focus was to develop a general documentation approach that would provide a framework to
structure the essential information required for a re-construction of an already existing work.
IMK Documentation Model<Introduction>Page 9 of 75
Rather than following artists during the process of producing a new work (sher (re-creation
approach), we traced and gathered information about a piece that has been, and still is, re-
performed by the company. This approach of course has effect on the type of information that has
found its way to the documentation model.
During the documentation process we realized that our background in contemporary fine arts
(rather than choreography and dance) was sometimes an advantage; e.g. in terms of transferring
experience in the documentation and conservation of contemporary art to contemporary dance,
and bringing in a ‘fresh eye’ on things. In terms of gathering and producing information
it, however, at times meant a drawback as we do not master the vocabulary and knowledge that
is necessary to complete the model according to the standard that we had initially set.
Sections at which we particularly found ourselves lacking the required background are for
example: movement material and dramaturgical analysis. Although we tried to compensate this by
consulting dance specialists from within and outside the IMK research project, we realize that
this type of information should be added to the model.
Another challenge was to develop a model that would provide insight into the artistic reasoning
and working process of EG|PC, but that would not limit itself to the work of EG|PC. Put
differently: the model is developed for capturing information on Extra Dry by EG|PC and should
also provide a framework that is fitting to capture other creative processes by the company as
IMK Documentation Model<Introduction>Page 10 of 75
well as outside of the company. To which extent the model succeeds in this goal, is a question
to be answered by future users.
Parameters of Change
Our research has focused on the type of information that would provide insight into the working
process of EG|PC and the realization of Extra Dry in order to arrive at a reconstruction.
Therefore, of keen interest for us was the reasoning behind significant changes in the sequence
of existing performances of Extra Dry. To gain more understanding in decision-making, we tried
to include information that would not only explain what is done, but also why it is done and
what the parameters of change are according to Emio Greco and Pieter Scholten as well as other
sources.5 For example: What is the role of the costumes and why is this particular kind of
material used for the costumes and why was this material chosen above others?
5 The model, in other words, tries to encompass both ‘know how’ and ‘know that’. ‘Know how’ is con-cerned with practical reason and doing and is related to tacit, practical knowledge, and skills as distinct from theoretical knowledge and reasoning. ‘Know that’ on the other hand is a knowledge of facts and information. (Ryle 1949).
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Users and Usages
As our goal was to develop a generic model, we didn’t want to exclude any user-groups from the
outset. However, as the model developed we realized that although the model and its content may
be taken up by different user-groups, in order to better organize and prioritize information
we needed to decide on a focus-group. In line with the set-up of the IMK-research project we
therefore decided on the EG|PC Company as key user. This means that the model should first and
foremost fit within the goals of ICK; providing an information structure that may help the
company to document and reflect on their previous performances, containing specific documentation
of Extra Dry. Of course, the different objectives do not need to exclude each other.
The documentation model can be used as a tool for annotation in the sense that it offers a way
to describe a existing work, and provides a structure to order this information. In combination
with the score, the installation, and video-registrations it should provide inside knowledge
into the working process of EG|PC’s and the elements of Extra Dry that are considered crucial
to the sources that we consulted. The model is additional to the ICK-archive (which consists
of individual documents) in the sense that it structures the information in a different way
and with a distinct goal. Moreover, the model has also produced new materials and pieces of
information that were lacking from the archive.
IMK Documentation Model<Introduction>Page 12 of 75
Working Approach
The main objective for the NIMk team was to develop a model for documentation. Our goal
was to develop a model (graphically represented) that will then be tested and refined. As a
starting point, we first looked into existing methods of capturing media art and contemporary
dance performances, mediation for re-enactment and representation and parameters of change/
restrictions (what is possible, and what is not possible). Parallel to the undertaking of
capturing content we compared and evaluated documentation models already in use for capturing
media art.
Many of the models that we analysed reflect the transition that has taken place in the artform —
from object to process and context while acknowledging variability in time as essential elements
of a work. This corresponded, in our view, very well with the different phases and stages in
contemporary dance. What was extremely helpful in these recent documentation models was that
they consist of specific questions that focus on the parameters of change: How much changing
is allowed on the art before it becomes something else? These and other question helped us to
analyse and understand contemporary dance. Some question proved useful to get a grip on the
material we were dealing with, whereas others showed us our lack of inside knowledge in the
discipline. Most of all it helped us to see what was missing and where adjustments were needed
in order to develop a usable documentation model for contemporary dance.
IMK Documentation Model<Introduction>Page 13 of 75
Similarly, we explored existing methods and models, and dance analyse, notation and
reconstruction to find an optimum form to define, formulate and structure the relevant data.6
In terms of capturing Extra Dry, we proceeded by collecting, categorizing and classifying
relevant information derived from Extra Dry trough conducting interviews, literature research
and by comparing respective performances of Extra Dry. The core is formed by the vision of the
makers expressing what is important to Extra Dry. In this sense, the model can be considered
a hybrid: a combination of strategies to enable recreating the work. The information sources
can be categorized in several layers. Ideally these layers are graphically represented and
connections can be made between the different layers. The hierarchy between the different levels
is made visible by graphic representation:
� First layer: information from interviews with Emio Greco, Pieter C. Scholten,
Bertha Bermudez, Barbara Meneses, and Paul Beumer conducted by NIMk team7;
�� Second layer: information from the ICK website and other ICK sources;
��� Third layer: information from interviews with Emio and Pieter conducted by others;
���� Fourth layer: information from secondary literature.
6 For a more detailed description of our working approach, see the NIMk research team contributions in Notation, Amsterdam School of the Arts 2010, pp. 15–27.7 Interview quotes have been slightly adjusted to approve legibility.
IMK Documentation Model<Introduction>Page 14 of 75
Structure of the Model8
In the first chapter, the company and work of EG|PC are introduced. The aim of the chapter is to
provide insight into the context in which Extra Dry is conceived and performed. In addition to
information on the collaboration between Emio Greco and Pieter C. Scholten, their oeuvre, the
company and its activities, this section also seeks to provide insight into several concepts
and building bricks that are considered of key importance to EG|PC.
Chapter two zooms into Extra Dry and elaborates on its origins as part of a trilogy. The
chapter starts with a detailed work-description and provides several readings/interpretations
of the work by means of reviews and analysis. The structure of Extra Dry is mentioned and
the positioning of the piece in EG|PC’s repertoire. Special attention is paid to the Seven
Necessities in relation to Extra Dry.
In order to provide insight into the creative process and artistic reasoning, chapter three
attempts to reconstruct the choices and decisions made during this process. To understand the
parameters of what can change and what not — in other words: what is considered essential
to Extra Dry — the respective performances of Extra Dry have been compared with a focus on:
(choice of) dancers, space, time, and audience relationship.
8 For practical reasons we have chosen to start with a linear text-based documentation model. Designer Stephen Serrato will explore the possibilities of transforming the collected data into a more accessible format.
IMK Documentation Model<Introduction>Page 15 of 75
In chapter four we explore what is considered crucial to future reconstructions /re-
articulations of Extra Dry. The chapter focuses on the preparation phase. This information
may be of particular interest to dancers and technicians. The last chapter elaborates on the
scenographical elements of Extra Dry.
Evaluation and Further Research
It will come as no surprise that our current approach is already quite time consuming. We
are very much aware that such an approach is most likely not feasible for small companies or
emerging choreographers, nevertheless it may help to document and reflect on their own working
process. Interestingly, the model has already proved to be useful in terms of providing insight
on what information is still lacking with regard to Extra Dry. Also, the model has helped to
specify and formulate questions that were then posed to EG/PC. In this sense the model can be
regarded as a tool; as a document that allows for further conversation, creating a working-
document that encourages and deepens mutual inquiries.
At this moment in time the model has not yet been tested in relation to an actual
reconstruction of Extra Dry by EG/PC or others. However, members of the feedback group have
IMK Documentation Model<Introduction>Page 16 of 75
already mentioned the following user-possibilities: as a model to document other choreographies
by EG/PC, as a documentation model to be used for choreographies by other choreographers,
as information source for students working with and learning from EG/PC. Recognizing the
importance of documentation for contemporary dance, we hope that by defining crucial categories
and opening up our methodologies, the current model can contribute to working towards an
accessible and workable format that can be used by others.
IMK Documentation Model<Introduction>Page 17 of 75
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“Our work is based on friction. It’s a continuous discussion.”Interview with EG|PC by NIMk team 16.04.2009
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In this first chapter, the company and work of EG|PC shall be
introduced. The aim of the chapter is to provide insight into the
context in which Extra Dry is conceived and performed. In addition
to information on the collaboration between Emio Greco and Pieter C.
Scholten, their oeuvre, the company and its activities, this section
also seeks to provide insight into several concepts and building bricks
that are considered of key importance to EG|PC.
1.1 EG|PC The company
Emio Greco | PC was founded in 1996. It is more than a dance company: the company
promotes a broader attitude towards the consciousness of the body. It initiated a series
of Salons on Dance & Discourse, established a section devoted to research on recording
and notation of body movement and developed an educational program under the name of
Accademia Mobile. EG|PC regularly invites artists from their own and other disciplines to
take part in a valuable dialogue. In the past years, Emio Greco and Pieter C. Scholten have
stepped back from making purely dance-centered work to direct their attention to theatre,
film and opera as well as contemporary music, always with dance as their point of refer-
ence.
�� ICK website, August 2010
1.1.1 The International Choreographic Arts Centre Amsterdam
ICKamsterdam is an initiative by choreographers Emio Greco and Pieter C. Scholten: an
interdisciplinary and international workplace for prospective and established talent. From
the starting-point of dance, ICKamsterdam strives for the continuous development and
enrichment of dance as well as other art forms. ICKamsterdam is intended as a dialecti-
cal space, with residents and passers-by who interrelate through communication, con-
frontation and exchange, with ideas, schemes, known and unknown projects. Central to
ICKamsterdam are the seven pillars such as artistic productions, talent development and
1. Context
IMK Documentation ModelPage 23 of 75 <Context>
knowledge transfer, reflection and research, innovation and alliance. It also houses dance
company Emio Greco | PC.
�� ICK website, August 2010
Much of their work precludes habits in the dance and at the social framework in the prac-
tice of dance sound. It led them to the path of the multidisciplinary exchange.
���� Purgatorio Popopera, epiloog Mestreech door Fransien van der
Putt, oktober 2008
1.1.2 Salons
Since January 2003 Emio Greco | PC has regularly organized informal gatherings devoted
to discussing and debating dance and the wider field of the arts. Journalists, art critics,
academics and artists have attended these Salons to exchange ideas and express their
views on the existing notions of art criticism and dance discourse. At the invitation of
EG|PC, essays were written by various authors in order to set off the discussions, and in
reaction other articles have appeared in diverse papers and magazines.
The Salon topics have ranged from specific dance related issues, like notation and
archiving of contemporary dance, to the more general discussion of art criticism.
�� ICK website, September 2010
1.2 Emio Greco I Pieter Scholten9
Emio Greco and Pieter C. Scholten have collaborated in their joint search for new dance
forms since 1995. They found a strong common interest in the possibility of a dance seen
as the expression of a visionary body, with the theatrical space as the external influence on
that body. In their performances, dance is regarded as autonomous, and capable of creat-
ing its own time and space. Dance is never brought into action as a medium for conveying,
nor for dressing a theatrical space. Instead, dance is perceived as possessing an inherent
logic, by which it is able to express the intelligence of the body without needing the addi-
tion of meaning or explication. All the elements of a performance – the space, the lighting,
the sound – are applied throughout the working process with a view to eliciting from the
body the impulses that are driving its self-examination.
�� ICK website, August 2010
1.2.1 Collaboration between EG|PC
PC: Officially, I’m not a dramaturge. It’s mentioned because, since the 90s, when a chore-
ographer works with a person with a theatrical background, then it is directly called a
dramaturge. I started as theatre director and maybe a sort of dramaturge for choreog-
raphers more linked with dance theatre. But directly at the moment we worked to-
gether, it was a sort of equal way of working; to go through a whole process from the
beginning towards the end. Over the years, I experienced going into the choreography
field in the sense of the level that I could reach the body from the inside. And Emio,
on the other hand, goes from the experience; less inside to more from the outside. It’s
going to touch a director’s eye, to call it like that, someone who can just see it from
the outside and intervene from the outside.
EG: At the same time, I started to realise oh, my God, this is so big, how are we going to
contain this? How can you structure it? Because different than Pieter, I always keep
changing and I have more of a tendency to create more instead of reducing, more of a
tendency to keep going instead of putting structure. There is a structure in the move-
ment, there is a logic. Everything that I create is a very articulated voice, the body
9 For biographies, see: Appendix 1
IMK Documentation ModelPage 24 of 75 <Context>
speaks. But my tendency is never (…), I would never by myself put it in a frame. After
a few months I met Pieter and it was exactly what it was; that kind of need of organis-
ing all those chaotic things and to try to describe. Because it was dance but the word
around it was bigger than just body movement.
� Interview with EG and PC by NIMk team 16.04.2009
Het oeuvre van Eg|Pc wordt nu juist gekenmerkt door pogingen om deze globale kijk op
mensen te doorbreken. Het zijn de details in het lichaam en in de persoonlijkheid van de
danser die er toe toen. Het is de individuele inzet die het verschil maakt en de happening
veroorzaken.
Het werk van Eg|Pc gaat dus niet om de ultieme fysieke prestatie, het is geen sport,
al komt het dicht in de buurt. Het gaat ook niet om de ultieme verbeelding, het zijn geen
ideale lichamen in ideale rollen, die u als toeschouwer voor een moment uw eigen lichaam,
misschien wat uitgezakt of juist al te opgepimpt, doen vergeten. In hun werk spreken Eg|Pc
uw lichaam, dat vat vol frustraties, ambities, tegenstrijdigheden en verlangens, verworven-
heden en tekorten aan en brengen het stilaan in beweging. Dramatische licht- of geluidsef-
fecten prikkelen de zintuigen, de intensiteit van de dans overspoelt de toeschouwer met
indrukken en langzaam raakt je als toeschouwer de controle kwijt. Door het effect van de
danser en de dans bij tijd en wijle terug te brengen tot bijna niets, wordt de toeschouwer
ook op zichzelf terug geworpen. Je mag het zelf gaan uitzoeken. Tien jaar eerder, in 1996,
begonnen Emio Greco en Pieter C. Scholten hun samenwerking met een solo en een ma-
nifest. Bianco heette de eerste voorstelling: beginnen bij het begin, wars van technisch
vernuft of theatrale pretenties, maar bezeten door de noodzaak om de complexiteit van de
fysieke ervaring centraal te stellen in de dans. Alles halen uit dat ene lichaam met slechts
een aantal principes op zak, geformuleerd in het manifest. Dans moet volgens Greco en
Scholten meer zijn dan esthetische lichaamsvormen op muziek. Het gaat om het vermogen
van de danser om via zijn lichaam de wereld anders waar te nemen en dit te delen met
een publiek. Je lichaam tot het uiterste drijven, niet om hoogstandjes te vertonen maar
om nieuwe ervaringen op te doen. De esthetische controle over het lichaam opgeven en in
plaats daarvan een innerlijke helderheid zoeken, een logica van vlees en bloed; noem het
intuïtie, instinct, speelsheid, onderbewustzijn of zelf-inzicht. Het is niet het soort controle
dat men gewoon is in de dans. Yoga en ademhalingsoefeningen liggen aan de basis van het
werk dat u hebt gezien. Niet de blikken van anderen en in spiegels bepalen de gang over
het podium, maar een voortdurend zoeken naar innerlijke rust en het uiting geven aan de
zaken die de rust verstoren.
���� Purgatorio Popopera, epiloog Mestreech door Fransien van der
Putt, oktober 2008
← Video stills from an interview with Emio Greco | PC / ↑ Artist interview scenario developed by the ICN and SBMK during a pilot interview project (1998-1999), source: www.incca.org/files/pdf/projects_archive/1999_concept_scenario_artist_interviews.pdf
IMK Documentation ModelPage 25 of 75 <Context>
1.3 Artistic Team Extra Dry
Choreographer / Direction
Emio Greco / Pieter C. Scholten
Lighting, Set, Sound Concept
Emio Greco / Pieter C. Scholten
Lighting Design
Henk Danner
Costume Design
Clifford Portier
Realisation of Sound Collage
Wim Selles
Production
Emio Greco | PC
Co-production
Kaaitheater, Brussels (B), Tanzwerkstatt Berlin
D), Klapstuk Festival, Leuven (B), Springdance, Utrecht (NL)
�� Extra Dry
1.4 Important concepts
1.4.1 The Seven Necessities
In 1996 Emio Greco and Pieter C. Scholten wrote their artistic manifest Les sept néces-
sités. This ‘dogma’, of which the articles are stated in French – “because Il faut que… so
much more strongly expresses necessity” – is an attempt to capture dance in words. In the
manifest they laid the basis for a dance language that goes back to the inner necessities of
the dancing body, an inner awareness of time and space that is stored in the deep memory
of the body. Today, the manifest has not been diminished in currency or relevance and it
still serves as a source of inspiration for the continuous development and deepening under-
standing of the work
1. Il faut que je vous dise que mon corps est curieux de tout et moi: je suis mon corps
It is necessary for me to tell you that my body is curious about everything
and I am my body
2. Il faut que je vous dise que je ne suis pas seul
It is necessary for me to tell you that I am not alone
3. Il faut que je vous dise que je peux contrôler mon corps et en même temps jouer avec lui
It is necessary for me to tell you that I can control my body and play with it at the
same time
4. Il faut que je vous dise que mon corps m’échappe
It is necessary for me to tell you that my body is escaping
5. Il faut que je vous dise que je peux multiplier mon corps
It is necessary for me to tell you that I can multiply my body
6. Il faut que je vous dise qu’il faut que vous tourniez la tête
It is necessary for me to tell you that you have to turn your head
7. Il faut que je vous dise que je vous abandonne et que je vous laisse ma statue It is
necessary for me to tell you that I am leaving you and I am giving you my statue
�� ICK website, oktober 2009
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1.4.2 Implications of the Seven Necessities
PC: Somewhere in 1995 it started, if you talk about documentation, it was time for me to
find ways to document the body of Emio with all its possibilities as it was a potential,
incredibly rich. Where to start? It could go everywhere in this kind of quality. You have
to start somewhere and I did it in seven directions. And we still profit from that first
moment and from there came the special statements manifest. I still structure eve-
rything in seven parts. It is just a starting point, but it’s good to enclose it and that’s
also the trick of it. And from there, you have to break it open again, and that creates
tension the whole time which means a lot of creativity and a lot of possibilities. It’s
continuously in discussion, so you continue to have to motivate yourself: why these
seven directions, why these seven possibilities, why these seven qualities?
PC: It’s also in all this work, the internal logic was the most important from the dance
fragments, also to keep that quality. So it doesn’t allow you to do just whatever you
want with it. That’s why also at the end of phase two10, this internal logic is so logical
already, so you cannot, it’s very, well, sometimes it’s happens that we put something
in another order, but it’s three weeks more work to find, again, a logic through these
replacements. It’s [unclear] okay, that’s better because we put it there. But that does
have an effect on everything that follows after and also before.
� Interview EG and PC by NIMk team 16.04.2009
10 Fase two in the creative process.
1.4.3 Glossary
Emio Greco I Pieter C. Scholten: Synchronicity is a word coined by the Swiss psycholo-
gist Carl Jung to describe the “temporally coincident occurrences of causal events.” Jung
spoke of synchronicity as an “a causal connecting principle” (i.e. a pattern of connection
that cannot be explained by direct causality). Plainly put, it is the experience of having
two (or more) things happen coincidentally in a manner that is meaningful to the person or
persons experiencing them, where that meaning suggests an underlying pattern.
Source: Gaby Wijers
Unisono synchronicity
Two entities juxtaposed to see what may happen, what may be possible in the way of
crossovers, where the specific loses its outline and where it unmistakably distinguishes
itself from its counterpart. In Bianco and Rosso the body of one dancer spanned the
duality of body and mind and took up [?] In the space between the two, the interspace,
the twilight area between the poles. The duality of the land I and the not-I, subject and
object, consciousness and existence, body and mind, the profane and the sacred. Extra Dry
marked the beginning of multiplication: the duality made visible by the two dancers on the
stage. And even when a complete unisono synchronicity in dance and movement seems
to be occur, there is never complete unity. The more synchronicity there is, the more the
individuality of the dancers is emphasized.
PC: ‘When it is performed well, as a synchronous unisono journey of a set of dancers on
the stage, then it becomes like a single breath, but with a clear-cut view of the charac-
teristics of each individual dancer.’
�� The wake-up calls of Emio Greco and Pieter C. Scholten, Gabriel
Smeets, Amsterdam Augustus 2004
Unity duality multiplicity
Besides being a given fact, duality is also a basic precondition for the creative process of
Greco and Scholten. It is in this interspace that new things are created.
IMK Documentation ModelPage 27 of 75 <Context>
PC: ‘There is a constant friction between the elements. Dance and lighting, lighting and
music, music and dance. Unity does not exist, though you may reach for it. If unity
were to be achieved, the work would be impossible. That aspiration and that friction
are recurring elements in our work. Neither Emio nor I constitute a unity. Our collabo-
ration is based on friction.’
EG: ‘Duality marks the first fission of the entity. That first division, that first great separa-
tion, that is gigantic. Unity is broken and fragmentation has set in. What follows is
multiplication, repetition. We are programmed to aspire to unification, in the knowl-
edge that we shall never accomplish it. Such is life. The desire of oneness is the driving
force.’
�� The wake-up calls of Emio Greco and Pieter C. Scholten, Gabriel
Smeets, Amsterdam Augustus 2004
Extremalisme
EG: ‘Ja, die term is voor het eerst in de mond genomen door de franse theaterdirceteur
Francois le Pillouër, na het zien van Extra Dry in Rennes, Bretagne. Zelf komt hij uit het
theater – hij is overigens erg politiek geëngageerd – en is niet erg dol op dans, hij is er
zelfs erg sceptisch over. In ons werk herkende hij een ‘extremalistische’ component,
een samentrekking van extremisme en minimalisme. Het werk bevat aan de ene kant
hele extreme elementen; extreem in hoe ze in de ruimte geplaatst zijn, hoe ze met de
tijd omgaan en met intensiteit, hoe ze zich verhouden tot het publiek. Aan de andere
kant zijn er pure, ‘minimalistische’ factoren in het spel: het lichaam dat volstaat in zijn
beweging, zonder omkleding van verhaal of mathematische patronen. Daarin toont ons
werk het plezier, de triomf van het lichaam. De term ‘extremalisme’ is op zich een erg
goede interpretatie van ons werk en daarom hebben we de term geadopteerd.’
��� De triomf van het lichaam, Programma van het Holland Festival,
Rimasto Orfano 12–12 juni 2002 interview Lonneke Kok.
Engagement
PC: ‘Ik denk dat de manier waarop wij dingen benaderen, waarop wij de mogelijkheden van
het lichaam onderzoeken en ontwikkelen, in zichzelf een vorm van engagement is. Het
leidt tot een verregaande emancipatie van het lichaam en maakt het onbekende voel-
baar dat achter lichamelijkheid schuil gaat. Het stuk Extra Dry (1999) bijvoorbeeld is
een statement over synchroniciteit; een beladen fenomeen in de danskunst. Daar komt
wel degelijk een bepaalde visie naar boven. maar je kunt niet zeggen dat het over twee
mensen gaat die elkaar niet meer leuk vinden en elkaar dan weer terugvinden...’
��� De triomf van het lichaam, Programma van het Holland Festival,
Rimasto Orfano 12–12 juni 2002 interview Lonneke Kok.
IMK Documentation ModelPage 28 of 75
After sketching the context and oeuvre of EG and PC, chapter two zooms
into Extra Dry and elaborates on its origins as part of a trilogy. The
chapter starts of with a detailed work-description and provides several
readings/interpretations of the work by means of reviews and analysis.
The structure of Extra Dry is mentioned and the positioning of the
piece in EG|PC’s repertoire. A large part is dedicated to the Seven
Necessities in relation to Extra Dry. These Seven Necessities form an
important underlying drive for EG and PC and therefore deserve special
attention.
2.1 Description of the work
2.1.1 Fra Cervello e Movimento: Extra Dry
Fra Cervello e Movimento is a set of three performances; two solos, Bianco and Rosso, and
a ‘ solo for two’ Extra Dry. This trilogy investigate the dyad brain (cervello) and movement
(moviment); a mind that wishes to control and a body that is curious for new sensations.
The motive is the interest towards the reactions that inner impulses impose on the body.
How can the body surpass its limitations? How open can it be in its responses and what
kind of transformations can it take on? It was only after Rosso that the idea of a trilogy
began to form; Bianco and Rosso belonged together and the thought occurred to have
them followed by a third part. On a request by dance festival CaDance in the Hague, Greco
and Scholten [together with Bermudez] first created the performance Double Points: Two.
For the first time a duet, for the first time a choreography. It marked the overture as well
as the preliminary investigation for Extra Dry.
�� The wake-up calls of Emio Greco and Pieter C. Scholten, Gabriel
Smeets, Amsterdam Augustus 2004
2. The Work
IMK Documentation ModelPage 29 of 75 <The Work>
After the solo’s Bianco and Rosso, Extra Dry (premiere 30-3-1999, Kaaitheater Brussels,
Belgium) is performed with two dancers. Starting with the male dancers Emio Greco and
Andy deNys, it was performed almost 50 times in Europe; Belgium, The Netherlands (pre-
miere Springdance 15-4-1999) Austria, France, Russia a.o. From 25-5-2000 on Barbara
Meneses replaces deNijs and until 2006, and Extra Dry is performed around 45 times
touring trough the USA and Italy a.o. In 2004 the three parts of the trilogy are performed
together again. On the 4th of February 2006 Meneses rol is performed by Sawami Fukuoka
and Nicola Monaco, performing together with Emio Greco and one more year Extra Dry is
performed by a male and female dancer(s) (ca. 12 performances). A new cast is introduced
in August 2007 and is three months performed in a male cast by Vincent Colomes, Emio
Greco and Nicola Monaco. On the occasion of Extra Dry’s 10th anniversary it was for the
first time performed (2x) without Greco but with Ty Boomershine and Victor Callens. Since
2009 Victor Callens and Vincent Colomes perform Extra Dry, ca. 10 performances took
place since. With the changing cast over time the experience of Extra Dry changed, the
scenography did not.
���� Substract from EG|PC’s archive (GW)
After the solo’s Bianco and Rosso, Extra Dry is performed with two dancers. Extra Dry is
an investigation into simultaneity: the synchronous movement. Moving from the explosive
to the exploratory in the search for oneness, the two bodies breach invisible boundaries.
The perfectly controlling mind, subjecting the body to the will of the dancer, is confronted
by the body’s resistance to obey.
In Extra Dry, the third part of the trilogy Fra Cervello e Movimento (between brain and
movement): -bianco-, ROSSO, EXTRA DRY) the isolation brought along by the previous
solos is broken through. Starting point is the urge to physical interaction.
�� ICK website, oktober 2009
2.1.2 Title
EG: For Extra Dry it’s also interesting because the piece got the life because of the name.
That was also one of the things that happened a few times. Because Extra Dry isn’t
anything, but just the words make the piece, just two small words. They we’re so
strong, that was enough to make it what you saw. Of course there were some bodies
behind, but the concept was just the name.
PC: After Bianco and Rosso everybody thought now it becomes blue. So to counteract
that, we just came with Extra Dry and went to another cycle. The funny thing is that
with Extra Dry, it gets a logic. Extra Dry became gold, it became gold. Extra Dry, the
water out, to see the reason that the sweat comes out. So it completely fitted and it’s,
in a way, accidental. It happens that, as Emio said, the title is completely the piece.
EG: Its sacral and profane, and gave this perception of difference, the most symbolic and
recognizable concept of dance is the duet we did it in a totally diffferent way.
� Interview with EG and PC by NIMk team 16.04.2009
Waarom goud? Choreograaf en danser Emio Greco hoeft niet lang na te denken over
het antwoord. De kleur heeft precies de uitstraling die hij zocht, omdat die tegenstrijdige
beelden oproept. Goud is warm en glanzend, barok, duur, mysterieus en sierlijk. Maar ook
metalig, hard, koud en afstandelijk. Die dubbelheid is de basis van ‘Extra Dry’, dat de vorm
kreeg van een duet. De choreografie combineert volgens Greco het sacrale en het profane,
het verhevene en het prozaïsche. Beide aspecten van een beweging helpen de mens te
transformeren tot iets wat het menselijke overstijgt, legt hij uit. En om die transformatie is
het de choreograaf te doen. Illusie is een belangrijk element van de transformatie die Greco
met zijn dans wil bewerkstelligen. Ook wat dat betreft is zijn kleurkeuze treffend. Goud
staat tenslotte ook voor goedkope glitter of sprookjesachtige tovenarij.
‘Extra Dry’ begint met een korte helwitte lichtflits. Een fractie van een seconde zie
je een in het wit geklede man op het podium staan. Als een magiër aan het begin van een
seance. Na nog een flits staat er ineens een tweede danser (Andy Deneys) tegenover hem.
In een volgende scène lijken beide dansers op wonderbaarlijke wijze samen te vloeien tot
een lichaam dat met beheerste, langzame bewegingen van houding verandert en dan over
meer dan tweearmen blijkt te beschikken. Toverij die je hersenen prikkelt te geloven wat je
ogen zien; een illusie.
IMK Documentation ModelPage 30 of 75 <The Work>
Een moment later in de voorstelling levert een soortgelijke ervaring op. Oorverdovend
harde muziek van Vivaldi vormt een scherm van geluid tussen publiek en podium, wat een
hallucinerende werking heeft.
De dansers, die in een veel sneller tempo zijn gaan bewegen, lijken zich op een ander
werkelijkheidsniveau te bevinden, alsof de realiteit zich heeft verdicht. Net als de lichtflits
in het begin creëert de ‘herrie’ een moment van helder inzicht.
���� Emio Greco kiest voor goud door Willemijn in ‘t Veld In: Veluws
Dagblad, 7-4-1999
Net als bij ‘bianco’ en ‘ROSSO’ is ook hier de bühne opgevat als een box. De weliswaar
doorlaatbare wanden ervan worden niet ongestraft doorbroken. Na een poging vallen
de dansers als levenloos op de grond, terwijl in de verte het geluid van vuurwerk of van
geweerschoten te horen is. Talrijk zijn de momenten waarop Greco en Deneys naar boven
staren, als viel daar iets te zoeken- of te vrezen (de bombardementen zijn slechts en 1500
km van Brussel verwijderd). Het dient gezegd: voor het bereiken van zijn indrukwekkend
effect krijgt de dans in ‘Extra Dry’ veel versterking van de geluidsmontage van Wim Selles
en het licht van Henk Danner. Dat doet echter geen afbreuk aan de imposante kwaliteiten
van de dans zelf. Zoals steeds oogt Greco – maar ook zijn compagnon- op een knappe
technische beheersing. Elk detail vormt een goudkorrel in het geheel. En het mooiste is dat
Greco zelf daarom eeuwig verwonderd lijkt.
���� Als twee lepeltjes door Clara van den Broek In: De Morgen 8-9-99
2.2 Structure of Extra Dry
Extra Dry’s
Structure
2 parts
7 sections
Scenes
Containing
Intermediate elements Movement phrases
Punctuated byInteract withDefined by
Cues
Actions Qualities
Body parts Intentions
FormsTime space
Is divided in
Containing
Each section has
Articulated by
IMK Documentation ModelPage 31 of 75 <The Work>
2.2.1 Performance Structure
PC: Extra dry is a choreographed “road dance.”
The piece is divided into to 2 main bodies (parts) containing 7 sections. The division of
each section is related to a specific concept that influences the treatment of time, space
and the relationship of the two dancers. Even when they are together, their relation chang-
es. At the same time each section has different scenes that contain movement phrases and
inter-medial elements. These elements are light, sound, costumes, set, other dancers and
the public and are defined by the specific use of time and space parameters. The different
inter-medial elements interact with movement phrases through cues. These cues punctuate
the movement phrases providing them with different dynamics, tempo and inner structure.
At the same time movement phrases are articulated by actions, qualities, the use of differ-
ent body parts, intentions and generated forms.
Movement phrases are individual small structures that later become part of the piece.
These phrases have a beginning, end, concept, quality and often a name. The idea is to first
get acquainted with the movement material and its specificity to later find their “life” within
the different sections of the structure. This means that there are always two layers to pay
attention to while dancing, the quality of the movement phrases and their role and meaning
within the structure. The main performative differences between part 1 and 2 are:
i) the relationship between the dancers, being the physical distance or proximity be-
tween them an essential factor and
ii) the type of movement material created.
Part 1 consisting of five sections, most of the dance material, are constructed patterned
phrases (that need of rehearsal). The dancers are constantly together, side by side, discov-
ering the space through different dance material. A strong relation with the light is settled
during this part, being the light the element that defines together with the dance the space
in which actions occur or may have occurred.
Part 2 consists of two sections where the dancers are mainly separated in space long-
ing for the possible reunion. The dancer is in this part of the performance requested to
improvise within specific parameters or to use an agreed concept to transform previously
learned movement. Some dance phrases are used within this part as an important refer-
ence of the performance theme (synchronization) to be freely reorganized by the dancer.
Another distinction is the treatment of the concept of synchronization, represented by
the inter-relation of the dancers with the space and with each other. The dancers are re-
quested to search individually their own path to find within a spatial distance possible ways
of synchronization.
The following structure provides the given names of the main parts of Extra Dry. Being
done in 1999 during the creative process this structure has been developed and changed.
The most important characteristic is the freedom of use of the syn words, allowing the
order to be modified and also to integrate at different moments different concepts. The
idea of structure is not used as something fixed but as a potential, a proposal that can be
followed and or ignored.
�� On notating Extra Dry, Bertha Bermudez and Barbara Meneses
2009/2010
IMK Documentation ModelPage 32 of 75 <The Work>
2.2.2 Extra Dry Parts
0 Opening of affairs → Longing for the other (intro)
1 Synchronicity / Unisono
Coincidation in time of two more or less causal connected actions
with similar meaning
2 Syncope / Two trains passing eachother
(the accent changes) the accents moves by connecting to the next heavy to
the previous weak or light part, either in the same or in the next beat
3 Synergie / Corps de ballet
Increased functioning by a combination of different means
4 Syncretisme / Rum Cola
Phenomena in mixing religious (re)presentations and rites from different ori-
gin into a new religious form
5 Synergy / Prime minister of Italy versus the pope
Coorperation between church and state / between faith and ration
6 Synchronisation / similarity
Coincidation in time, simultaneous passing by, total agreement between fric-
tion, phase and frequency.
7 Synthese / The best of
Connection of separated elements into a new whole
�� Text by Pieter Scholten translation GW
2.3 Meanings of the work
EG: ‘To choreograph that moment. That’s why the work became so specific, because we
really departure again from a situation of a body. What we call intention, and to ar-
ticulate the way that then could be shared. Also for the second one. Then we tried to
make it very interesting for Bertha, an intriguing situation. The state of the body was
already very challenging to communicate. Then we did just a half hour piece, and from
this we went to extra dry. Which again was further articulated, the end of the trilogy.
[…]
What was useful was more the transfer that we did with that, a further step towards
Andy, and Barbara. To think choreography in another way. And we choose this parallel
existence because we were already totally against composition, and the traditional way
to consider choreography. That choreography exists when different people dislocate
in a space, because they are more than this choreography. This is such a conserva-
tive way of thinking, so we say the choreography is in one person. And one person
can contain the whole choreography. If there are two persons, both they contain the
same choreography, but they try to keep it in this kind of straight line, they connect
each other mentally and physically, both they carry the same choreography, and state
of mind and body. A lot of challenge, physically and mentally, emotionally. And to this
challenge things emerge completely. Just nice to observe, then you see the person,
and not only the dance, the dancer and the choreography. So it’s really about people,
about the person, and from there (…). There are people who carry a certain choreog-
raphy, but there is no choreography which is closing, wrapping the person. And today
this is still the way we consider the dancer.’
� Interview with EG and PC by NIMk team 18.11.2009
IMK Documentation ModelPage 33 of 75 <The Work>
2.3.1 Fra Cervelle e Movimiento
Fra Cervello e Movimento is a set of three performances; two solos, Bianco and Rosso, and
a ‘ solo for two’ Extra Dry. This trilogy investigate the dyad brain (cervello) and movement
(moviment); a mind that wishes to control and a body that is curious for new sensations.
The motive is the interest towards the reactions that inner impulses impose on the body.
How can the body surpass its limitations? How open ca it be in its responses and what kind
of transformations can it take on?
It was only after Rosso that the idea of a trilogy began to form; Bianco and Rosso
belonged together and the thought occurred to have them followed by a third part. On a
request by dance festival CaDance in the Hague, Greco and Scholten first created the per-
formance Double Points: Two. For the first time a duet, for the first time a choreography. It
marked the overture as well as the preliminary investigation for Extra Dry.
No strategy, no course. One thing follows from another. A continuing investigation of
how far you can go. After Rimasto Orfana (reflection on their own work(GW) there was
a desire to leave the path of dance. Double Point: Bertha – The Bermudez Triangle came
about, a portrait of dancer Bertha Bermudez Pascual, developed together with dance critic
Helmut Ploebst. Teorama followed, an adaptation for the theatre of Pasolini’s book and film
of the same title in collaboration with Toneelgroep Amsterdam. Then came Orfeo ed Eurid-
ice the opera. Reprise of Fra Cervello e Movimento.
�� The wake-up calls of Emio Greco and Pieter C. Scholten, Gabriel
Smeets, Amsterdam Augustus 2004
2.3.2 Extra Dry
PC: I think Bianco, Rosso and especially Extra Dry has a certain quality which goes quite
far which I don’t think we reached anymore in the other pieces. Of course, something
came instead I’m sure, but this was, it was quite a drive which brought us there.
� Interview with EG and PC by NIMk team 16.04.2010
EG: Because there where part 1 and 2. […]
PC: Extra Dry is an anchor point. It is the beginning of the work. There are a few lines
coming together. A piece that is perceived as important piece on different levels, from
out of the dance field, and the discipline. It speaks to people, very communicative. It
is an anchor point for us, because its is two/three years from the beginning period. So
all our visions, ideas of the seven necessities translated in movement and dance direc-
tion come together in that piece. It is still also a source. That makes it difference from
One and Two, that it became such an anchor point. I think every artist can say, “this is
really my anchor point”. A piece where suddenly things come together, and that makes
it such an important piece, from the different sides. It communicates, it is a pleasure
to see, and it has a certain quality. It is important for the art form. And that is less with
One and Two.
EG: I think we managed to capture the urgency, of all of our dance, and to trap, frame in
a choreography. That is the main challenge, because now, we think, how are we going
to keep alive this urgency, so that it doesn’t kill the form. When you kill the form the
urgency is gone.
� Interview with EG and PC by NIMk team 08.10.2010
Samen met danseres Bertha Bermudez deden Greco en Scholten een voorstudie voor Extra
Dry, het derde deel van de triologie Fra Cervello e Movimento. In deze voorstudie, Double-
points: two, zetten Greco en Scholten een belangrijke volgende stap in hun ontwikkeling.
De vragen uit de solo’s werden breder getrokken. Waar sta ik ten opzichte van de ander,
wat betekent de ruimte tussen ons, wat botst daar, wat zijn de verschillen en hoe gaan we
daar mee om. Het klinkt allemaal niet erg dans-achtig, maar het grappige is dat in dans
IMK Documentation ModelPage 34 of 75 <The Work>
eigenlijk zelden de vraag wordt gesteld hoe je samen beweegt. Het wordt als vanzelfspre-
kend verondersteld. Dans gaat vaak over andere dingen dan de concrete dansers die op het
podium de klus moeten klaren. Zij stellen zich in dienst van een fysieke rol, zij voeren die
uit, soms symbolisch en liefst subliem. Maar dat vanzelfsprekende samengaan van lichamen
is natuurlijk verre van reëel, of in ieder geval uiterst zeldzaam, ook onder dansers.
Greco en Scholten besloten daarom geen theatrale middelen te gebruiken om de frictie
tussen mensen zichtbaar te maken. Verschil, verlies of tekort (maar ook plezier, voldoening
en samenhorigheid) moest zich in de beweging zelf manifesteren en niet via een of andere
gedanste rol. De lichaamstaal van Emio Greco, ontwikkeld in de solo’s, bleef uitgangspunt
en Bermudez werd gevraagd in deze taal mee te gaan. Synchroniseren heet dat in dans- en
muziektermen. Daarmee werd van Bermudez eigenlijk het onmogelijke gevraagd. Niet alleen
heeft zij een heel ander lichaam dan Emio Greco, ze is ook een heel ander mens. Door Gre-
co’s bewegingstaal minutieus te volgen en een uur lang zoveel mogelijk één gezamenlijke
beweging te maken, ontstond een hele opmerkelijke synergie van overeenkomst en verschil.
Individuele trekken traden door de synchrone inzet van de bewegers juist aan het licht. Niet
uitvergoot, grotesk of symbolisch gemaakt, maar subtiel en kleinschalig.
���� Purgatorio Popopera, epiloog Mestreech door Fransien van der
Putt, oktober 2008
Greco’s work is not determined by clones, copies and duplicates, but by dis-unity, twins,
dualism, and dichotomy. They can be found in Bianco (1996) as well in Rosso (1997) or, ex-
plicitly so, in the trilogy’s third part, Extra Dry. This ‘piece for two’ (Greco), created in 1999,
an acting environment of characters presented as autonomous discusses questions of
synchronicity and independence. The trilogy tittle, Between Brain and movement, inverts
Cartesian dualism: the organ is named (not the mind inscribed in it), and the movement
(not the body to which it can be attributed). The ironical allusion to the Martini drink (bi-
anco, rosso, extra dry) rather seems to be associated with the opposite, the disappearance
of the body. ‘Il faut que je vous dise que je vous abandonne et que je vous laisse ma statue’,
is the last of the ‘seven necessities’ formulated by Greco and Scholten in a manifesto from
1996: ‘I have to tell you that I am leaving you, and that I am leaving you my statue. Conse-
quently, the starting point for Greco’s work is his own body and its abilities, which manifest
in an elaborate technique: ‘If we confront technique with rationality, we can say that the
technique also is the higher expression of the rationality. Moreover, technique is necessary
to organize the madness, and, in a way, to create the dialog with the observer.’ The mani-
festo identifies this as programmatical: ‘Il faut que je vous dise que je peux controler mon
corps et en meme temps jouer avec lui. It is a body that cannot be predefined but rather
conceives itself during the working process.’
The stage appears as a ‘profane’ negative to the ‘sacral’ ambivalence of the golden
walls in Extra Dry – where the performer is positioned similarly but introduced by harsh
lightning. The antagonists ‘sacral’ and ‘profane’ appear as leitmotiv in Greco’s and
Scholten’s work. The stage in Extra Dry equally refers to mundane and religious symbolic
content, to the kitsch and costliness of gold.’ The exposure of elements creates sacrality
and profanity’, says Greco. ‘In which fraction [of the piece]and how long you expose, and
even how long the movement is sustained, how often you repeat the movement and in
which context it recurs – this really is the interspace playing between sacred and profane.’
Although the body gets overdrawn by a certain kind of virtuosity, by the same token it is
profaned too, it twitches, fidgets, wriggles, falls, shaken, and tenses, until it becomes a
grotesque caricature. Here grow the resources for a meta-story anchored in the passion of
the human body’s history, in its transience, in the traumatic tradition of its abuse, its de-
struction, its being heroised and romanticized, in its ideological boycott, in the suppression
and the celebration of its spiritual abilities and instinctive desires, and finally in its becom-
ing economised and suppressed behind the layers of its representation.
Pieter C. Scholten notes: ‘The body is generally given a lot of attention; to its beauty,
its physique, its sculpture. These have the connotation of the body being stupid, set and
empty. We strive to add a dimension of individuality to the body, in order to make it speak,
in order to release the visionary within.’ With this, EmioGreco, who began with the ballet
and later danced with Jan Fabre and Saburi Teshigaware, has gone a long way, and witch
incredible speed has created an ‘extra room’ between past and future for himself. Since
1996 he has been working – ’without Pieter I could never decide to call a work finished’ –
in a dual system. Greco and Scholten make the body visible again, and help it achieve new
liveliness, between dirt and gold, way of the Cross and ‘hoppy on akkant of his joyicity.’ fra
cervello e movimento.
���� Emio Greco / Pieter C Scholten duits/engelse tekst met de
7 necessities lit opg nakijken
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Het vertrekpunt van Greco is het lichaam zelf en niet de choreografie. Hij ziet het als een
kleurrijk toetsenbord, waarvan de toetsen een keur van emotionele mogelijkheden bevatten
die versterkt worden door de muziek, het geluid en het licht, om de verhalen en de teksten
die in het lichaam sluimeren tot leven te brengen, waarbij de compositie het resultaat vormt
en niet het beginpunt. Ook Extra Dry is weliswaar weer een solo, maar geconcipieerd voor
twee uitvoerenden en de relatie tot elkaar, die een enorme intensiteit, warmte en glans
vertoont: het is ook de eerste choreografie waarin het karakteristieke lichaam van Emio
Greco, met zijn expressieve kracht, lijdend en intens, een ander lichaam ontmoet, ditmaal
het vrouwelijke lichaam van de formidabele Barbara Meneses Gutierrez, waarmee hij den-
kbeeldige barrières slecht: nu eens dankzij een explosie van bewegingen, dan weer verstild
door zijn weloverwogen aftasten. De paarvorming geschiedt koortsachtig maar vaak op
afstand (dit is een paar van het 3e millennium en het raakt elkaar niet aan, het negeert het
sekseverschil door uniseks hemden te dragen) De begeleidende muziek is van Wil Selles
en is wel infernaal genoemd, maar wij denken dat hij geheel trouw aan de bekende lijn van
Greco en Scholten, de extreme gang van het spasmodische stuk waarnaar de titel Extra
Dry verwijst perfect binnendringt en de pogingen van verstilde wellust weet te treffen. Hij
wordt beschouwd als een van de weinige danskunstenaars die bezig zijn het aanzien van de
danscompositie te veranderen.
���� Teatro Comunale di Moderna Programma 04-12-2003 door Marinella
Guatterini vertaling Mies Panneman
An extraordinary exercise in stamina, control and concentration, Extra Dry created a primal
force field around itself. Its two dancers, who moved in hypnotic synchrony, yet rarely
touched, reacted to each other and to an imaginary environment as if their nerve ending
were on the surface of their skin. Every twitch, every repetitive skittering frenzy, every
sustained but highly alert stillness was filled with potent meaning and expectation.
���� Hedy Weiss in the Chicago Sun (3)
‘De solo’s Bianco en Rosso en het duet Extra Dry zijn al over de hele wereld gespeeld, maar
worden nu [sept/okt 04] voor het eerst achter elkaar uitgevoerd. De voorstellingenreeks
biedt het thuispubliek de gelegenheid om opnieuw kennis te maken met deze stukken en
vooral met de fascinerende kracht van Emio Greco. De solo’s tonen zoals ze 9 jaar geleden
zijn uitgevoerd, kan bijna niet, daarvoor is teveel gebeurd. Greco heeft zich als danser
verder ontwikkeld, de visie en de uitgangspunten van het duo zijn door de tijd heen gaan
verschuiven. ‘Het is geen terugkeren, eerder een bezinning op ons werk’, zegt Greco. ‘Het
publiek krijgt straks reflectie te zien, waar al onze invloeden en ervaringen van de afgelopen
jaren op een of andere manier zijn terug te vinden.’
���� I. Starts 2-10-2004 In: Elsevier
‘Zoals in veel werk van EGPC, gaat het in Extra Dry om het binnenwerk: het lichaam van die
danser in verhouding tot die andere danser. “Dit bij dit en toen?” schreef Dick Raaijmakers
in zijn Methode. Geen representatie, alhoewel een enkele soundbite of een terloops gebaar
dat wel eens doorbreekt, maar presentatie van presentatie, aanwezigstellen. De vraag is
dan natuurlijk, aanwezigstellen van wat?, maar daarover rept de dans zelden, ook eg en pc
houden er niet van. Het binnenwerk impliceert het belang van de voortgang re opvatting,
(zoals de voorgang het belang van het binnenwerk bewijst) maar benoemt die niet. Dat
doen de toeschouwers maar, is de gangbare opvatting, ieder voor zich of desnoods in fora
met zijn allen.’
���� “Is dit het? Is dit alles?” F. van der Putt, 22/9/2010
IMK Documentation ModelPage 36 of 75 <The Work>
2.3.3 The Seven Necessities with regard to Extra Dry
PC: ‘A necessity, is an urge, also a life existence. An urge to express your vision, and ideas.
And the way we collaborate from the start, what the common ground is to develop
something is unknown. The only thing Emio could show was his necessity in a very
physical way. He would just take me to the studio and show me what was in his body.
And from my point of view, I got to structure it. I was intrigued. And from there you
go into the strange format of a performance. The necessity came from Bianco, Rosso,
and went further into Extra Dry. The main idea in Extra Dry, which was already hidden
in Rosso, was a second person.
PC: There are always seven parts. Extra Dry uses the seven necessities as the motive for a
structure. Through the working process it is a competition between a structure we put
on top of it, and a structure the piece has to tell us. So there is a flexibility. There is a
rigid way of the structure will be like this, and during the creation the piece should tell
us how it is going to be presented.
PC: One of the motives was also the word syn, so everything what had to do with syn,
synchronicity, all the syns. With every performance there is a wish of structure, but
then everything can happen, and we are always looking for new ways to name it and
to put it into a framework. And of course this word syn is very clear, as it has this ten-
sion with this unisono, just these two people. To keep the strength and quality of the
movement, we should find it in synchronicity. That means you embody a quality and
you carry it both, without that you try to find opposites, or different spaces. There was
the unisono, synergy, two trains passing each other. Then de ‘code de ballet’ synchre-
tisme. The synergy, the rum cola, which means that if you have your cola and put your
rum you still have these two fluids that are mixing, but still you catch the rum and then
you catch the cola.
� Interview with EG and PC by NIMk team 18.11.2009
2.3.4 Significance of Extra Dry
EG: For me, I am inspired, surprised that its essential totally contemporary. Every time it
confirms the opinion that we have on the piece.
PC: In all its senses. As theatrical setting, it is a new way of approaching dance. It is not
a story, its not an anecdote it is not dance dance, but it is dance dance at the same
time, and it also is a story. That paradox is that which makes it such an inspiration for
us. But also that the people see it as something special. And that it communicates.
PC: Yes, the significance remained the same. I was quit surprised when we did it last time
in Frascati. Nicole, was like, “this music was from ten years ago”, but still how it is
composed, and how it is related to the dance is important, and that is what makes the
piece stay. Even in ten, or twenty years. It is not only the dance, but it is the combina-
tion of using the set, the costume, which is the simplicity, the way how it grows with
the dance, the transparency, the view on the naked body, which is not a naked body at
the same time. These are very basic things about dance presented with layers. It goes
beyond. But it is so simple. Just two bodies, in one space, without any props. But still
so rich with the light.
EG: Besides the philosophy, the result is the combination of all of us with very few and
strong intuition. For me it is the power of the intuition. Like in Extra Dry; two people
have a journey in a set of challenge. We were inspired by the work before.
PC: It is also the beginning. All circumstances in which you create it. It was hell, yet that is
the best way. We didn’t have any money, no dancers etc..
� Interview with EG and PC by NIMk team 08.10.2009
IMK Documentation ModelPage 37 of 75
To be able to think about the future of Extra Dry, we need to learn
about its past. In order to provide insight into the creative process
and artistic reasoning, this chapter attempts to reconstruct the
choices and decisions made during this process. To understand the
parameters of what can change and what not – in other words: what is
considered essential to Extra Dry – the respective performances of
Extra Dry have been compared with a focus on: (choice of) dancers,
space, time, and audience relationship.
3.1 Different phases in the creative process
PC: Well, very globally, if you look to our creative process from the beginning towards the
end result, it’s still comparable from the first moment that we worked together.
There is a zero step that is more the talks. You have something in common that is a
fascination and you were rounded by words looking for a vocabulary. From Bianco on it
was also the criticism of the dance world, commenting on other dance performances.
But also the fascination in each other in a social context. Than the first phase is the
most difficult to catch and also if you want to document it, it’s almost impossible be-
cause for me, it’s about ideas. It’s the same when I write the first words that become
phrases. When a composer writes notes and suddenly, you know it’s there, it’s frag-
ments. It’s always a question to us; well, how it comes out of the body? Emio and me
in a studio and with Bianco, it was okay. Let it speak. It was almost like that because
we wanted the body to dictate the structure, the performance and everything. So we
always go back to a zero point and then, of course, it’s now easier than with Bianco
because there is a knowledge somewhere. Also the body is trained now in a subtle
way to that dance fragment, that’s what we call, then, the end of phase one, is that
we have dance fragments. That means there is a, let’s say, series of movements with
an intention which you can grasp, which you can repeat.’ (…) Phase one is the hardest
and the most challenging to say okay, how can you catch it? How is it coming from
us being there in the studio, started to dance with the phase one this may be already
the title. This may be a piece of music if you think there we want to work with. But
3. Phases and Parameters
IMK Documentation ModelPage 38 of 75 <Phases and Parameters>
then how is it suddenly coming, these dance fragments. But at the end of phase one,
we have a serious amount of fragments which, again, you can name it, you can circle
around it, you can speak about, I mean, you can name the quality. They have titles, and
these can be stupid titles. Then you have dance fragments. To define what is a dance
fragment; they have a title (you can name it), an internal logic and are reproducible.
And with these dance fragments, we go into Phase two, well, Bianco, it’s still then
you’re going to develop them. But now, with the last performance, if you see beyond,
then you go to share it with your dancers and from that we’re going to develop them
with this music coming in that we’re using the elements, like music also, to sharpen
them, to develop them further. At the end of phase two, there is a sort of way already
and logic from a follow-up. At the end of phase two, there is a presentation which you
can say okay, this could be a proposal from the follow up, from the dance fragments
which we had in phase one, develops. With also a proposal with music which doesn’t
have to be that the music will be exactly the same. And then, to finish, then you go,
let’s say, in the theatre, that’s the last phase. Phase three. Then, of course, the light or
the other elements, the theatrical space comes in. Also they’re used to even sharpen
and to make this internal logic from the dance fragments even more clear and read-
able. So they can change. But the funny thing is, it’s very rare that an internal logic
from phase two is going to change in phase three.
� Interview with EG and PC by NIMk team 16.04.2009
3.2 Parameters of change
PC: Over the years Extra Dry remained very much the same. Other pieces have changed
much more. In Extra Dry we didn’t change something essential. Of course, we made
some changes, but these are not very relevant. Basically, it’s the same piece. What did
change a lot is the speed, because of the necessity, the urgency.
EG: The first one, the premiere, was the best performance. Also a few others in Russia,
maybe because of the condition, the surroundings. I think Moscow was one of the
most exciting.
PC: I think in Russia it all came together; the urge, the public, the theatre. That is so
important; the needs for these people to see something, the response during the per-
formance.
EG: People were crying, I remember a girl came to Andy, he got a ring from here mother
and she ran away crying.
� Interview with EG and PC by NIMk team 16.04.2009
Q: Which elements are crucial to Extra dry, and should never change?
EG: I would say the parallelism.
PC: The layers of synchronicity, and the statement about choreography. It becomes one
body through different bodies. Once we thought we should create an Extra Dry for
eight or ten people, but that’s impossible. It doesn’t have that same impact as when
you do it with two people.
PC: When I say that there is a sort of distinction between the structure, and between
what’s happening in the process, then I talk about that we facilitate the body, with
structures, there arises a certain quality, that we have to understand. And if you relate
this to the structure, you create the dramaturgy of the piece. Or you create the dram-
aturgy of certain fragments. And that is also if you talk about the pre-choreographed.
That kind of knowledge is not coming from a rigid thought before-hand, it’s coming
from the body. It is the dramaturgy of the flesh.
� Interview with EG and PC by NIMk team 18.11.2009
IMK Documentation ModelPage 39 of 75 <Phases and Parameters>
3.2.1 Dancers
PC: In the beginning we didn’t want to have other people around. But after two or three
years, someone could enter, but still that someone was together with Emio, still almost
one body. This prevented us from dealing with psychological structures or story telling.
So Extra Dry is also a solo for two. This is also a vision of our company which is this
famous word of synchronisation but also the way we relate with other disciplines: It’s
to put things together, it’s not to create a fusion, it’s to sharpen and to strengthen the
other elements. So if we work with live music, it’s not to make a soup but to strength-
en each other. That’s the goal. That’s the ambition. The same goes for the dancers.
� Interview with EG and PC by NIMk team 16.04.2010
EG: The first dancer was very afraid of the piece. It was a single dancer, he had is own
character and he had been doing many solo projects. And then for a long time we were
left alone. People auditioned … We kept looking around, … somebody proposed Andy.
Andy came to the studio and it was not prepared, totally unfinished, but we took the
risk to go with them. Because Andy had no experience it was really the perfect match.
He could ignore limit, no limit, no sense of risk, he could just … It was a risk because
everybody had such huge expectations of this piece. When we decided for Andy, eve-
ryone was like, are you sure about doing this.
PC: We met Barbara in a workshop in Vienna, and there we liked her very much. Also
because of the energy, she had this kind of urge. We then invited her for this other
project. And at the same time Bertha was in the studio … who was completely different
from Andy.
EG: Later others came, like for example Niko has a good sense of timing, and precision,
also because she is Japanese. Niko is more formal, and Sawami more reflective.
PC: That’s also the time we started to have the company, so that’s important. It’s a piece
that has everything inside, and if you can dance Extra Dry, then the work is closed.
Then you have it in you. It is almost part of the education in being part of the company.
PC: We never performed with two girls.
EG: It would be possible because now we are not so afraid anymore to take chances, that
something only happens if you have a specific choice. We were more afraid before. But
it was also the pressure from the outside world. Then you are very careful, but now we
are not that careful.
EG: In the last version is with Vincent and Victor. And they are very diverse, in length for
example.
PC: This was quit important. It should be so much look alike, and to play with these two as
one, and the more they can look alike, the more clear the difference will be. This is an
important motive. This friction is what we wanted to research.
PC: At a certain moment you [the audience] break through the puristic way of how it
was created. And you are aware that it is for example a women, because through the
costume you can see the breasts. So it is very clear that men are men and women are
women, and at the same time you don’t do anything with it. It’s completely sexless at
the other site. So after half an hour, or fifteen minutes, it gets another layer. So first
you see a man and women, you see breasts and whatever, and then you go into the
real quality, what it brings to you.
IMK Documentation ModelPage 40 of 75 <Phases and Parameters>
Q: Is that something you would like to see in the future happening as well, that kind of
change?
PC: Yes, because then we then thought we should also do it with people of eighty years
old, two dancers of sixty. Or an Extra Dry created with children.
EG: This is still a very serious thought.
Q: But then you also said it was one more experience, and it was one less experience.
Andy and Barbara you were the experienced ones, and the other ones were not that
experienced.
EG: And also Ty was very square. He tried to be muscular. ….. It was really like father and
son, that was also touching. There is so much from inside, that in the end you show
your face, everything becomes like radioscopy.
PC: We started with two people, but at one point one dancer couldn’t hold it anymore, and
she needed help, and then the other person came in. She couldn’t finish the trip what
was needed for the right quality of Extra Dry, and then new layers are coming in. It’s
another Extra Dry, and maybe not the puristic one which we created in 1999, but it
adds another layer.
EG: It’s also because it happened in the moment, and you didn’t recognise the change.
Sawami was for example also bald like me. Nobody could find out where it happened.
It was also a beautiful example of disappearing, one person is sucked in, and another
one is produced, but nobody sees when. It was a nice experiment. But in the terms of
leaving the body, it’s not the real one….It’s almost a purification.’
PC: Once we thought we should create an Extra Dry for eight or ten people, but that’s
impossible. It doesn’t have that same impact as when you do it with two people. Then
you need something to work with, other theatrical elements come in; position of space
etcetera. Really stay together, and walking a whole path, a journey.
� Interview with EG and PC by NIMk team 18.11.2009
Door zijn klassieke balletopleiding heeft Greco zelf als het ware een voorgevormd lichaam,
als was hij een insekt of een pauw. De fascinatie voor dieren volgt zo als beeld ook uit
Greco’s idiosyncratisch bewegingsidioom – elke stilering lijkt voort te vloeien vanuit een
organische band met het lichaam. Deze week krijgen we dus het derde deel te zien, ‘Extra
Dry’. In een volkomen duistere zaal slaat onder loeihard gedonder de bliksem in, meermaals.
Die enkele momenten zien we een strak gespannen Greco, in positie om gelanceerd te
worden. Het gaat allemaal te snel om precies te zien wat er gebeurt, maar plots staan
ze er met zijn tweeën, Greco en Greco junior, temidden van een gigantisch goudkleurige
schrijn. Greco danst een duet met Andy Deneys, een student aan P.A.R.T.S. De dansschool
van Anna Teresa De Keersmaekers. Hij is een jonge danser die precies even groot is, even
breed, en met een even glimmend hoofd. Greco danst een duet met zijn evenbeeld. Toch
is Deneys niet zomaar een kloon van Greco, al dansen ze gedurende het merendeel van de
tijd gelijk. De differentie drijft de voorstelling – hoewel ook de muziek en licht een duit in
het zakje doem om het geheel een spannend ritme te geven. Deneys beweegt soepel over
de scène, hij vloeit en golft doorheen een grillige ruimte en danst daarmee een parcours
voor aan Greco. Het is de laatste die er op ongedwongen wijze nog enkele scheppen vir-
tuositeit bovenop doet, en stiekem een randje lijmt aan het gedroomde evenwicht. In tal
van bewegingen spant Greco een extra spier, toont zijn vlees in de gladde kompositie. Met
kleine schokjes kleurt hij zijn danspassen in, alsof het lichaam zijn deel weer opeist. De dans
weigert te stranden in harmonie, de synchrociteit lijkt uiteindelijk weer een nieuwe verstik-
kende ruimte te worden, na de spetterende ontsnappingspogingen uit de ruimte van de
bühne.
���� Stirred, not shaken door Jeroen Peeters. In Veto nr 30 dd. 10
mei 1999
IMK Documentation ModelPage 41 of 75 <Phases and Parameters>
3.2.2 Space
Q: Can you explain a bit better how that works then. You say, they create a space, they
can move about in specific ways, or in their own ways. How much freedom is there?
PC: Of course it’s a set design, a box is already a set design. But what we mean is that the
object is not really something in space. Especially in the beginning for Bianco, Rosso
and Extra Dry, it was to create their own space, we didn’t wanted it to depend on
theaters, or other influences, it was very clear that the body was into that space.
PC: This harks back to the dramaturgy. It has to do with the dramaturgy, the quality of the
fragment. Like in the beginning there is almost no space, there is just this one person
standing there. And this other person has his space, but his memory is already ahead.
But he doesn’t have the space yet to create literally this space. So it’s more in his
head, and he has the space of one meter around him. But the whole sequence that he
is into, relates to all the space that you see. So if you analyze the beginning, you see all
the quality of the fragments already inside this limited space he is doing. And then on
the moment that he goes there, then he starts. And then they start together to create
it.
EG: So maybe what you want to say, once they define the space, it’s not broken by other
choices. Everything is very measured, it exists only because it’s here not there, it’s not
yet. The proportions are very important.
� Interview with EG and PC by NIMk team 18.11.2009
Het spel in de ruimte suggereert een betekenisvol onderscheid tussen voortoneel climax)
en achtertoneel her-beginnen zijtoneel/hoeken (rust en luwte) en centerstage (basis). Maar
tegelijkertijd nemen de dansers de ruimte met zich mee, dan draait de ruimte om hun ahw
met hen mee, waardoor voornoemde waarden volledig veranderen (bv voortoneel wordt
herbegin en climax op zijtoneel) (zie ook eindbeeld)...In ED speelt de vlakte een grote rol,
het toneel is minder binnenkamer, de grot wordt verlaten, de dansers gaan als het ware de
woestijn in dit vgl met eerdere voorstellingen; maar ook als contrast met de kleine ruimte
waarin zich de verstandhouding afspeelt tussen de twee synchroniserende dansers, de
minimale ruimte die door hun twee lichamen bestreken wordt). Tegenover de weidse hori-
zontaal staan talloze verwijzingen naar de vertikaal. De verticale projecties strekken zich
evenzeer ver buiten het individuele kader uit. Dit geeft het geheel een existentiële onder-
toon.
���� “Is dit het? Is dit alles?” F. van der Putt, 22.09.2010
IMK Documentation ModelPage 42 of 75 <Phases and Parameters>
3.2.3 Time
EG: Time is important but it is foremost the speed. In all our work speed is important, it is
the necessity. Especially the piece where I’m inside, they’re always much faster at the
beginning than afterwards, but not because it is a problem of energy, it’s for urgency. I
realise more and more now, that because our pieces are always going, the place where
you stay is never the right one, it’s never the status quo. So you dance because you
are moving, you are going somewhere. You are in contact, you are creating something.
Here, you create here, then it’s from, and it’s constantly shifting. There are moments
just where, the persuasion that you are now, it’s very temporary. It’s for the sake of…
and where is that urgency, all these moments that you see in the piece, that we grasp
a certain way. You go there with a certain preoccupation and a need to, not with the
gesture, not that you go here.
� Interview with EG and PC by NIMk team 16.04.2009
During the discussions more than once the term ‘original phrases’ was pointed out. These
phrases have a begin, end, concept, quality and often a name. The composition gives the
order, length, perspective and additional material. Time is defined by phrases and scenes,
length is the fixed time. One of the dancers (Emio) keeps the timing.
BB: If the intention is clear you have the timing. Time=equal breath=equal intention. One
has to be aware of these 2 layers of the movement. Phrases are structured in a box.
Box = original phrases to do one after each other. Order, length and perspective can
chance. In learning Extra Dry, one learns 10-12-20 phrases and these will be set in
order later on. The connected phrases are a scene. The dramaturgy is based on the
phrases. Extra Dry has around 23 phrases, some repeat through scenes, many ele-
ments from other phrases that appear later in the performance.
� Discussion on notation Extra Dry, Bertha Bermudez and
Barbara Meneses 2009/2010
3.2.4 Audience
PB: Improvisation is key for this group.
But there is also a clear structure in the different performances. You notice them after
four or five performance in the same period/season. For example: the moment the
public needs to ‘awaken’, by making noises or bringing silence, these are extremes –
many lights, few lights.
The works refer to each other. Many of the movements recur in different perfor-
mance. Looking at it from the dance movement, there is reflection and repetition of
movement, but also from a light perspective there are similar moments that can be
found in the whole repertoire. There are many of these comparisons that are experi-
mented with performance after performance.
PB: The public is at least 50cm away, but preferably more. This is different in each theatre
When they enter after the first 10 minutes of Extra Dry they preferably should enter
via the balcony or the back, because otherwise it disturbs the performance. During the
first 10 minutes of the performance no one should enter, because it starts with a quiet
part.
� Interview with Paul Beumer by AD/NIMk team 22.03.2010
(translation AD)
Concentratie op synchroniteit en verschil vanuit innerlijk functioneren
Minimale verschillen in de detaillering van de beweging worden tastbaar door een intense
concentratie op het synchroniseren van adem, energie, beweging, houding, richting, focus,
intentie en vorm. Deze innerlijke concentratie van de dansers overstijgt het representatieve
karakter van het optreden, waardoor de toeschouwer zijn voyeurisme kan laten varen en
een intieme blik krijgt toegespeeld op de activiteiten van de dansers. Dit binnenwerk wordt
een paar maal onderbroken, aanvankelijk door de subtiele gestes-blikken, gebaren- richting
publiek, welke uiteindelijk culmineren in het buiten het kader stappen van de dansers,
wanneer zij vlak voor de finale op het voortoneel een informele uitwisseling hebben met
het publiek, daar stomweg te staan met hun bijkomende lichamen, tussen de kaders, noch
acteur en noch toeschouwer zijn, of misschien juist beide. Het scopofiele wordt daarmee
voor een moment geheel doorbroken…
IMK Documentation ModelPage 43 of 75 <Phases and Parameters>
Bewust effect
Hoewel voornoemde concentratie en intensiteit van de lichamelijke inzet vergeleken kan
worden met een trance-achtige situatie wordt deze nooit bereikt. Er is altijd een zeker
bewustzijn van wie wat inzet, hoeveel van wat en in welke mate. Een zekere theatraliteit
komt steeds om de hoek kijken. Je zou dit ook anders kunnen formuleren: naarmate de
intensiteit toeneemt en het doordoen van de dansers steeds intenser wordt of specifieker,
wordt ook langzaam het publiek als derde partij toegevoegd. Dit groeiende appel verstoort
de mogelijkheid om in trance te raken, zowel voor de dansers als voor het publiek.
���� “Is dit het? Is dit alles?” F. van der Putt, 22.09.2010
IMK Documentation ModelPage 44 of 75
In this chapter we explore what is considered crucial to future
reconstructions /re-articulations of Extra Dry. The chapter focuses on
the preparation phase. This information may be of particular interest
to dancers and technicians. The chapter hereafter will elaborate on the
scenographical elements.
4.1 What dancers need to learn
PC: In principle, we never give things on video or DVD to the dancers. Sometimes if there
is an emergency because we are not there. I think it can also be dangerous because
you see a result, so you copy from the outside. You need to know from the inside first
before you go to see it because then oh, yes, it has to be like that.
� Interview with EG and PC by NIMk team 16.04.2009
PC: For me this (the structure) is still existent, and it’s important for Extra Dry, but for the
people who interpret it it’s not so important anymore. If there is a new dancer I am not
going to lecture them about this.
Q: How does that work then. How do you lecture the new dancer then?
PC: That’s a good question. Somewhere is always the frustration that you cannot go
through the same creation process, especially for Extra Dry. You could almost say that
it is the only way how, you can catch it if you really go back into pure form. But that
is impossible. But you have somewhere to go to learn steps, somewhere somehow. So
you go a little bit backwards, it is totally against our ideas, but somewhere you have
to learn. And the good thing is then to pose questions. Questions about where does it
come from. What means syncope?
EG: One concept that we worked with is also the ‘not yet’. It means that maybe you divide
a space in right and left, which is also a huge approximation. There is a moment when
they go from the left to the front, from the left to the right. There is a moment there
is this movement there. Usually this moment is like a resistant to the gravity, you fly
up, but the body is sitting. Also when it finally happens, it shouldn’t happen because
4. Prerequisites for Reconstructing Extra Dry
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you fall, but because you know, yes it has now. And this has to be shared with the two
dancers. Another example, both of the dancers are here, there is a moment of suspen-
sion. What is in between them that is also up to them, what is the state of their body.
Q: Do you teach the dancers? The steps and the awareness?
PC: Yes, sometimes we do the big work, and then very basic information, like steps can be
done by Barbara, or somebody else.
EG: There is no hierarchy. Everybody can contain the whole.
PC: But what kind of hierarchy you mean. Of course, especially with Andy, through the
experience of Amber there is a sort, in the way that he [doesn’t finish sentence]. But
on the other side of course you have to listen also to him, to make that same trip real-
izable. So it’s an interesting question. There is an hierarchy.
EG: Oh ya in that sense, aha! That’s evident. The transfer was opened also through the
performance. Not in the studio, but every performance was a way to transfer. And
that’s why Bertha and Barbara are so rich of things, they really danced with me, for a
long year. I retransmit to them what I thought relevant to transmit. And they have the
most embodied experience. In Extra Dry you enter and every time you think you aren’t
going to make it to the end. The work is totally aesthetic but also constantly bombed
by danger and a balanced situation. Everything has to be variable and open and then
you can communicate, and transmit. The not touching was also about that. They never
touch, but the touching is much more interesting than the neo-classical touch that we
are used to see in dance. Which in fact breaks the real. The subject is broken because
there is a more social element that you bring in.
� Interview with EG and PC by NIMk team 18.11.2009
4.2 Warming Up
Emio Greco communicates his intentions about movement and the body to the dancers
through a series of exercises, comprising the warm-up. “Participants are guided through a
specific warming up in which the body is being freed of formal conditions with the purpose
to come to a new vulnerability and to experience the helplessness and hopelessness of
the body. Detailed exercises help to break resistance, to open the body for a new physical
understanding.”
���� Jeroen Fabius, 2007, Company in school, p.21
1 Breathing is a way of giving, a vehicle of information in which you project the situation
of your body outside of yourself.
2 Jumping means deconstruction for the sake of reconstruction. Its intensity encourages
physical strength, resistance, regeneration and reconsideration of energy. It represents
the aim of not having a body.
3 Expanding is a further development of Breathing and Jumping in which the first per-
sonal choices are taken. It depends on the dancers’ critical approach to use what is
available and at the same time not to be satisfied with it.
4 Incorporation is a gradual decrease of length and weight, exercising the ability of con-
trol and measure of time and space with the need to explore the outside.
��� The warming up consists of four stadia: formulated by Bertha Ber-
mudez, in: Jeroen Fabius, 2007, company in the school, p.21
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Through a series of warming up exercises, described as the four stadia of intention … the
dancer becomes aware of EG intentions about movement and the body. “They say it takes
a year for a dancer to really star to live in the work. In that year the physical and mental
practices start to sink in and become embedded in the subjectivity of the dancers.” [Jeroen
Fabius, 2007, p.22] The trust in an ‘intelligent body’, i.e. the intrinsic knowledge of the
body, is acknowledged here. “In the range of divergent processes there is an ethic of how
the knowledge practices are shared, not through correction, but through a hesitation and
patience, waiting to see how a movement is picked up by a dancer the next time around.”
[Jeroen Fabius, 2007, p.22] [quote interview Barbara lab #1]
���� Jeroen Fabius, 2007, Company in school
4.3 Installation
How to notate Dance? Since 2004, when one of the EG|PC Salons was challengingly dedi-
cated to the implications of building up modern repertoire and of archiving contemporary
dance, EG|PC has been researching ways of documenting and analyzing their work. The
ultimate aim is to develop an information resource that draws from their past, present and
future work. A “living archive” based on principles of movement and choreography that are
constantly evolving. The development of this archive has taken place along different paths:
in 2005, EG|PC was in residence at the Amsterdam School for the Arts where they explored
themes related to reproduction and authenticity, new systems of notation and dance idioms.
Connecting with international researchers to explore these issues further, took the
notation research project to the next level. The research team uses documentary filmmak-
ing, existing dance notation systems, interactive media design, gesture analysis and insights
from cognition studies. In October 2007 the first results of the project were presented to
the public in the form of the book Capturing Intention and the Interactive Installation Double
Skin/Double Mind. The team aims to apply their findings from the workshop experience to
the creative process in the near future. The workshop Double Skin / Double Mind represents
the basis of Emio Greco | PC creative work. Through the years this workshop has developed
into a clear structure in which participants are challenged to explore their own creativity by
learning new ways of dealing with their bodies. Breathing, Jumping, Expanding, Reducing
and Transfer are the terms that describe the main parts of the workshop, in which body and
mind cooperate to achieve a physical metamorphosis, blending the form of the movement
with its intention. The Interactive Installation Double Skin/ Double Mind is a virtual version
of the Double Skin/Double Mind workshop. The installation offers participants the possibility
to take part in a virtual version of the workshop in real time, while receiving verbal, physical
and peripheral information. The design made by Chris Ziegler (ZKM Karlsruhe) – consisting
of an aluminum frame construction with one projection screen, four sound speakers and one
tracking camera – surrounds the participant. The movement tracking program Gestural Fol-
lower developed by Frédéric Bevilacqua (IRCAM) compares the different data of the filmed
version of the workshop with the real time data of the participant’s movements. As result of
this comparison, different forms of feedback are given: sonification, visualization and music
will accompany the participants while mentally and physically travelling through the Double
Skin/Double Mind structure.
�� ICK website, oktober 2010
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4.4 Workshop
A workshop, the teaching method, shows the complexity and important aspects of the
works (from small to the more important parts). The teaching reflects the creation process
of Emio Greco. The workshop starts with the elements, followed by the phrases, and the
third part consists of connecting these and show how they travel in space.
During the whole course there is a constant emphasis on the intention, meaning and
state of mind of the specific parts that are learned.
At the end of the training, the deeper level of the course, extra information concerning
performativity is given to the dancers, this is a personal exchange because every dancer is
different.
� Information provided by Barbara and Bertha, 28.10.2009
PC: ‘Then at the same time also the workshop came in, there’s also the interview with
[unclear] it was also clear that that also has to do with transfer at [unclear] forest and
it was very helpful. When we started to do a workshop, it was after the Bianco Rosso
with this, that you have to put it in names, so you document also for yourself, because
it doesn’t transfer. You have to communicate it towards the students when they [un-
clear], which we had then which then became the [unclear]… Again this was very help-
ful also to our own work, so we had to name it. At one point we had a resistance for
documenting, existing [?] for words, at the other side we see the necessity and it’s so
needed that you put things in words that you can find the right… And since the begin-
ning already we try to find a new language which is also this, kind of, [unclear], also in
the salons which we [unclear] dance critic, what is the new language?’
� Interview with EG and PC by NIMk team 16.04.2010
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In this chapter we shall explore what is considered crucial to future
reconstructions/re-performances of Extra Dry. This information may be
of particular interest to choreographers, dancers and technicians who
want to learn what it may take to perform Extra Dry. Each section looks
into a crucial element of the performance and describes the necessities
and parameters of change concerning the scenograhic elements, with a
focus on: stage, cues, light, sound, hardware/software, costumes and
others.
5.1 Collaboration artistic team
PC: It’s almost a paradox; the ideas are coming from Emio and me. At the same time Henk
[light] and Clifford [costumes] understand our way of thinking, our logic, they can
think with us. In that sense they are completely equal. It is not that we start Bianco
and then follow a light designer. That would be completely different. These people
have the knowledge and an authority, yet at the same time they don’t want to come
with models. That would be totally not acceptable. For us it was also very important
to protect the work. To say, it’s the body that dictates. For example, the light design is
constructed in a combination of how it relates to the body, of what is necessary. There
is not a moment that a light designer comes in, he looks, and designs the light. Of
course that can still change, but we never worked in such a way.
� Interview with EG|PC by AD/GW 08.10.2010
EG: We’re not all equal, but everyone is free.
PB: Normally we travel with two technicians. Pieter is always the first contact, and in
the case of ED I am the technical coordinator. Depending on where I am or where we
build the performance I will be the contact person. Pieter makes an estimation on the
proceedings of building of the performance and from there he decides if we need a
“run-through” and at what time. Based on that we decide if we are also making a tech-
nical “run-through” to check the lights. Pieter talks to me and I talk to the rest of the
5. Staging / Scenography
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technicians. Together with them we prepare the building. I also communicate with the
theatre whether we make a ‘run-through’ or not, what time and at what time the doors
open for the public, what we do with the audience who are late, merchandise and all
other things. Pieter is only there for the sound check. He is the one who decides, he
makes the last call.
� Interview with Paul Beumer by AD/NIMk team 22.03.2010
(translation AD)
5.2 Stage
PC: We wanted to create our own theatre. Not depending on other theatres. This is our
limited space, and there it has to happen. And this we encounter the first time with
Bianco, and in Rosso it became more clear. It is a playing with the other worlds: The
world behind the limited space of the box. Extra Dry was the beginning of that other
world. We wanted to break it open. With the following pieces we still had a box, but it
had a lot of transparency, there were big openings and one could still see the world be-
hind it. Extra Dry also has an opening, but that meant that there was freedom to come
in again. It was not yet the freedom to see behind it. For me and Emio, we wanted to
have a cordon sanitaire. We wanted to create our own world, and didn’t want to involve
ourselves completely with other worlds. The other world was the world which was not
ours. And this was our space, and our way, and our manifest. So there is a very basic
idea behind it. We were quit rigid.
EG: We were protective, in the sense that we wanted to define ourselves; to position our-
selves very clearly.
� Interview with EG|PC by AD/GW 08.10.2010
PB: We make the construction of the box ourselves. It is a construction of a number of
metal tubes that hang. They are not specific. If we go on tour in the Netherlands, we
make sure we bring our own tubes that we hang at the right height. If we go to for
example Italy than we rent to the tubes on the spot. The tubes are hung in a rectangle
and from this we hang the gold curtains. It is envisaged that it should be hanging as
tight as possible, without any wrinkles. On the floor we put wooden planks on the
curtains, as weights.
The shape of the rectangle, and the height, in my experience is extremely variable.
It is measured according to the lights and the position of the audience. The curtains
are seven meter high, and the maximum width is 12 meters. If you go beyond 12 meters
you will get problems with sight lines. At times people in the room can no longer see
the corners. Smaller than this we can’t go, larger is possible, but it might lead to prob-
lems with the audience sight lines.
The moment one of the dancers goes through the curtain is one of the things one
should keep in mind when building and measuring. The location of this gap is at least
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two meters from the floor’s edge. The dancer must also be able to walk behind the
curtain, and between the front curtain and the audience must be at least 50 cm, from
there it is about 2.70 m to the gap.
Next to the golden curtains we use black stage curtains that are provided by the
theatre, these provide the frame of the scene. We hang two on each side and then one
behind the hole where the dancers are going through so the audience will not see the
stage. And we also use horizontal curtains to hide the lamps hanging in the grid.
� Interview with Paul Beumer by AD/NIMk team 22.03.2010
(translation AD)
5.3 Cues11
PC: There are cues. Sometimes they are very clear, others are freer. It is always a sort of
overlapping. You can play with that, but that is always the difficulty. When a technician
has the right sensitivity, then you can take the freedom. On the moment that the tech-
nician doesn’t have it, then you have a problem. You could make the statement that
the quality of the performance is depending on the technician who is doing the music
and the light. With performances from other companies that is not always so. In all our
work you directly see it, when a technician doesn’t have any sensitivity.
� Interview with EG|PC by AD/GW 08.10.2010
PC: Emio and I make the cues for the light and the sound. They are variable. It’s not that
you have a tape running for sixty minutes. Things are defined, but dancer, sound and
music follow each other.
� Interview with EG and PC by NIMk team 18.11.2009
PB: Some cues you have to do by your own gut-feeling. You see, experience and almost
feel the performance and know why something needs to be done. Other cues are more
straight forward, because if you don’t perform them the result you want in 10 min time
won’t happen. When differences with for example other dancers occur and are discov-
ered, they will be discussed together with Pieter.
Essentially cue lists don’t change, but the intention of the light, or the intensities
do change. We don’t have the exact intensity of the light on paper. The positions are
stored in the format of the light table. But if the light table is gone there is nothing
on paper. We have a server at work with backups of previous performances. The cue
list shows much better the intent of the performance, than in the light computer, the
control equipment.
� Interview with Paul Beumer by AD/NIMk team 22.03.2010
(translation AD)
11 See the Appendix for the cue list.
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5.4 Light
PC: ‘Important is the costume effect. It was important to have this golden color, and also
be transparent. Rosso was more closed with the red, and this should keep more open-
ing to the outside world, that’s why in the end there is light behind, there is a world
behind. That’s also quit important.’
EG: ‘The difference also which is the best option, in Rosso we make the light direct. The
other important thing was also that the light should be perceived, but not seen. So the
audience doesn’t see the source of light, but they are just sensing the light. In Rosso
we did the opposite; it was very evident, very industrial. You couldn’t see the source.’
� Interview with EG and PC by NIMk team 18.11.2009
In – bianco – the light plays a fleeting game with movement in a extremely bright space. In
the unavoidable space of ROSSO the light is a more pushing, almost controllable force in
the performance. EXTRA DRY will be predicted by the confrontation between light, danc-
ers and music. The light will be manifest in unexpected moments. Confrontation will be-
come of fight. A fight between the movement of the light and the movement of the danc-
ers. No environments will be marked out by light. Light appears and disappears in relation
to the fight. No clear cut previous light spots and -plans. Will the movement be given by
the light or is it the other way around? Does one try to meet or escape from each other?
��� Henk Danner – translation GW, from the EG|PC archive
PB: Emio and Peter want to achieve a space that is not visible. Therefore, in some perfor-
mances they are, and others theyare not, using light that shines in the audience and
dazzles them. In one theater, we need it because the space itself is too bright, and
in others we don’t because the space is dark. The variable depends on whether the
theater is dark enough, or that there is something from the spill light from the stage
or the auditorium. If the room is dark enough that you do not see what’s on stage than
we do without lights. Once you see anything of the dancers there is a greater need for
these specific light: audience blinders.
PB: We use only our own light table, which we always which bring with us, because it
is very specific in what you can do with it, and it is easier and faster to work with. I
would not dare to use another lightbox when I don’t have an extra day to get to know
it. There are ninety scenes each having their own securities and effects that cannot
be copied in other lightboxes. Dimmers: We use a lot Parre lights, a certain type of
dimmers and they tend to make a sound. There is no intention to have those, and now
there are dimmers that can filter it out. Is that a conscious choice or not, it’s just a
case of product. And it helps to ensure that we choose a dimmer type who does not
make a sound. We are aware that we use Parre lights that have a certain negative
quality, and we look for solutions to minimize it as much as possible.
� Interview with Paul Beumer by AD/NIMk team 22.03.2010
(translation AD)
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5.5 Sound
PC: It was when we started with Bianco, and then Rosso, where we actually discovered
how we could use sound and music to create dance. To create dance, is to give mean-
ing and value of the intention, the construction of dance. In Extra Dry I developed that
further. With the creation of Rosso I had thousand of kinds of music, and could really
order and structure and think about possibilities. I had that kind of knowledge and
experience and memories of music in my mind, when I started with Extra Dry.
We really took the time to find the right music for the right intention for the right
moment. It is like you use thousands of music’s, you go through the process, and then
you go to define, and in the end it becomes a sort of musical score. It has its own
composition. The music becomes dance and the dance becomes music. That is the
way we use the sound and the music.
EG: To make it more difficult. There is this knowledge of the dancer which is submerged in
the musical context, the surrounding. The body of the dancer is totally in shock by a
wall of music that suddenly opens. Choreographically, we go to music that still has to
come.
PC: We try to reach that state where the sound becomes a physical aspect, you feel that
there is a resonance in the body, the representation of the dancer.
EG: Other times, it is very physical. You feel the music through the skin. It is almost that
the music is in the space. When you move through the space, you touch that noise.
Towards the end, it is very chopped music, so you define the space through this note
to keep going. It is a complete experience.
PC: The volume is also quit important. It depends on the way you deal and relate to an
audience. Every time I do it, it is different. It is the way of how you sense the com-
munication, which has also to do with a live performance. The way how you catch the
audience.
PC: In Extra Dry there is a continuous tone that builds during the fireworks, and this stays
till the end.
EG: There is always music, always some sounds, in Extra Dry.
EG: For me it was a sense of presence. A habitat inhabitated by something, an energy, a
somebody, or an entity, and the moment is recognizable where it originated, and where
it ends. It was also to create a horizon. A fixing point.
� Interview with EG|PC by AD/GW 08.10.2010
PB: As far as I can remember Pieter has always worked with two CDplayers. So, there is
a table with the audio CD playes and a PA of the theatre it self. The sound quality de-
pends on the theatre, and we have in our technical rider the specifics on what we need
and ask tem to gives us anything that meets the requirements.
� Interview with Paul Beumer by AD/NIMk team 22.03.2010
(translation AD)
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5.6 Computer / Software
PB: One computer runs Windows and the other Unix, actually it is two different pro-
grammes but both based in Windows. I think they are programmed in C++ and converted to
Windows but I’m not sure.
For the light we use standard software but that is in development. Also the light cable
computer is standard. That software is still developing rapidly. Every six years there is an
update. That’s a part that changes by the software, and probably has implications for what
is says now.
� Interview with Paul Beumer by AD/NIMk team 22.03.2010
5.7 Costumes
Q: The costumes in Extra Dry are transparent and become wet, almost like a second skin.
Is that important to you?
PC: Yes, that was the perfect match. Because it tells its own story.
EG: It’s…silk
PC: Het kostuum plakt aan het lichaam, ok denk minder aan transparant maar wel aan li-
chaam tekenend, plooi en kreuk ultra-light plakt door zweet aan het lichaam. Misschien
Hierdoor ontstaat transparantie,…, eenvoud en simple, maar blijft toch actueel. [Pieter
reads from a fax letter: Fax from Clifford Portier to Pieter C. Scholten, 30.01.2009]
EG: Extra Dry was pure, just silk White, the body absorbed it. For us it was the success of
achievement of not having costume but still something very important. Not naked, it
was further than naked.
PC: The colors were quit important. Extra Dry was really gold. But the costumes should
thus be no color, white should go with the skin. Because at the moment it’s transpar-
ent it gets the skin color.
EG: Also because it was light, it’s luminosity. The white reflects.
Q: And what if you take a black dancer then?
PC: For Extra Dry it would be beautiful. But of course the color then is different. You cre-
ate another color to match to whatever.
EG: It starts as a screen the costume, a screen of the body. Not touched before you start
to sweat. Create this picture of two people very far away, very holistic. But this can be
for any kind of skin.
Q: So you could also imagine if this specific fabric was never found anymore that you
could take something, else, but you wanted to keep the transparency, the second skin,
the nakedness, showing the body.
EG: Yes absolutely.
� Interview with EG and PC by NIMk team 18.11.2009
The costume stays tight around the body and ‘dress-like’. Material wise I think less to
transparent but more body tekenend. Pleat & crease, ultra-light, sticked by sweat to the
body maybe transparency is given, silk plonge, plain & simple and still actual concerning the
leather idea: it’s to obvious an idea (do you understand what I mean with this) so no further
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research into this! The feel of the costume should be the same as the feel of air, fleeting.
���� Fax from Clifford Portier to Pieter C. Scholten, 30.01.2009
It is important that the audience can see exactly what is going on with his taut, muscular
frame. ‘ Costumes are important to show the skin, following the lines of the body, ‘ he says
earnestly. ‘to portray the transformation of the body. You end up with the visibility, the
sweat.’’A lot of extra dry is about the line between the sacred and the profane, visibility and
invisibility, the concrete and the abstract.’ And that’s were the tight white dress comes into
it: ‘it’s not just a dress: it fits close to the body, it allows movement, it doesn’t take to much
attention, but shows the metamorphosis with the body heat through the piece.’ ‘There is
moment where the dance is like streams of energy an thought, where two bodies enter
each other and split again, like evaporation, disappearance and enlightment.
���� Greco: nothing to hide, by Don Morris In The Scotsman 25.08.2000
Quote: Emio Greco ‘Ik hou ervan precies te werken: als je je been of arm exact in de ruimte
plaatst, als je oog hebt voor details, kun je je idee beter overbrengen. Ik hoef niet per se
met perfecte lichamen te werken. … Als ik zelf dans, voelt mijn lichaam het meest natuurlijk
in een jurk. Een jurk bedekt het lichaam niet helemaal en danst met je mee. Dansen in witte
zijde dat het licht weerkaatst geeft een engelachtig soort visioen, terwijl zwarte kleding
absorbeert. De kostuums zijn bij ons nooit toevallig, ze vormen een belangrijk deel van het
werk: kleur en materiaal bepalen een groot deel de stemming van een stuk.
���� Emio Greco (1965) door Irene Start In Dans (2004)
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A. Biographies EG|PC
B. Team Extra Dry
C. Play List
D. Technical Rider
E. Cue List
F. Light Plan
G. Soft Materials (Doeken)
H. Structure Extra Dry
I. References
Appendix A: Biographies
Emio Greco | Pieter C. Scholten and dance company Emio Greco | PC
Emio Greco and Pieter C. Scholten have worked together since 1995 in their joint search
for new dance forms. Out of curiosity for the body and its inner motives they created their
first work: the solo Bianco, which became the first part of the trilogy Fra Cervello e Movi-
mento (between brain and movement). They also wrote a manifesto setting out 7 basic
principles of dance and their impact on the body and the spectator.
After the internationally successful dance productions created between 1995 and
2001, from 2002, Greco and Scholten shifted the perspective of their company Emio
Greco | PC to opera, music and film. At the request of the Edinburgh International Festival
they directed and choreographed two operas, which included Gluck’s Orfeo ed Euridice.
Their collaboration with Swiss composer Hanspeter Kyburz in the on-going project Double
Points:+ followed shortly after. Together with Toneelgroep Amsterdam, Greco and Scholten
made Teorema, based on a film and a novel by Pier Paolo Pasolini. In 2006, these inter-
disciplinary excursions gave rise to the highly acclaimed dance production HELL, the first
part of a trilogy inspired by Dante. The second part, [purgatorio] premièred in 2008 during
the Holland Festival and included compositions by contemporary composer Michael Gor-
don and classical composer Franck Krawczyk. In 2009, a special collaboration took place
between EG | PC, star violinist Janine Jansen and clarinettist Martin Fröst, Double Points:
Janine | Martin. The third and final part of the Dante trilogy, you PARA | DISO had its world
première in Monaco in July 2010.
�� ICK website, September 2010
Appendix
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Appendix B: Team Extra Dry
Lighting
Henk Danner (The Netherlands) developed the stage and lighting design programme at the
University of Amsterdam faculty of Theatre Studies, where he currently works as lecturer.
He has created lighting designs for a number of Dutch as well as international theatre and
media artists. Danner has worked with Emio Greco | PC since 1996.
Costumes
Dutch fashion designer Clifford Portier (1966) graduated from the Fashion Academy
Charles Montaigne, Amsterdam. After his studies, Clifford moved to Milan. He specialises in
men’s fashion and has worked as a designer and concept designer for various international
fashion brands, including Mexx and Falke. At the same time he continues to look for new
forms. His passion for contemporary dance resulted in a special partnership with the inter-
nationally acclaimed dance company Emio Greco | PC. It led to a new approach to what a
dress can mean. The design does not only cover the body, but also reveals a life of its own.
His ingenious design has meanwhile become the hallmark of the company.
Research
Bertha Bermúdez Pascual was Prix de Lausanne laureate in 1992. After her dance educa-
tion in Pamplona she continued with professional studies at the Rudra Béjart Dance School
in Lausanne and the John Cranko School in Stuttgart. Between 1993 and 1996 she was a
member of the Frankfurt Ballet and then joined Compañia Nacional de Danza in Madrid.
She has performed in productions by a.o. William Forsythe, Nacho Duato, Jirí Kylián, Ohad
Naharin and Hans van Manen. Bermúdez Pascual joined Emio Greco | PC in 1998 and has
performed in most of their works. In 2005 she stopped performing and started working for
EG|PC transmitting their work and doing research around dance notation
Dancers
— Andy deNys (Belgium) to be edit by EG|PC
— Bàrbara Meneses Gutiérrez (Barcelona) graduated in 1999 from contemporary dance
school P.A.R.T.S in Brussels (BE) and was a member of dance company Emio Greco |
PC from 2000 till 2006. After two years break from the dance scene she’s currently
collaborating with ICKamsterdam- Emio Greco | PC company in different projects
as well as being a guest teacher at the School for New Dance Development (SNDO)
and Modern Theatre Dance (MTD) departments of the Amsterdam School of the Arts
(AHK).
— Sawami Fukuoka (Japan) studied visual arts at the Art College of Kyoto. In 2001 she
was selected for the European Scholarship Programme for Contemporary Dance,
danceWEB, at ImpulzTanz in Vienna. Sawami joined Emio Greco | PC in 2002.
— Vincent Colomes (France) graduated from the Conservatoire National Supérieur de
Musique et de Danse de Paris in 1995, with a specialisation in classical ballet. He
danced with Ballet Victor Ullate, Ballet National de Marseille Roland Petit, Introdans,
Ballets Gulbenkian and Compagnie Metros. Vincent Colomes joined Emio Greco | PC in
2006.
— Victor Callens (France) graduated from the Conservatoire National Supérieur de Mu-
sique et de Danse de Paris in 2006 and with his graduation-performance obtained the
first prize in the category contemporary dance. Victor Callens joined Emio Greco | PC
in 2007.
�� ICK website, September 2010
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Appendix C: Play List
Date Presenter Theater Plaats Land Dancers
30-3-1999 Kaaitheater Brussels Be Andy deNys, Emio Greco
31-3 Kaaitheater Brussels Be Andy deNys, Emio Greco
1-4 Kaaitheater Brussels Be Andy deNys, Emio Greco
8-4 De Vooruit Gent Be Andy deNys, Emio Greco
14-4 Springdance Utrecht Nl Andy deNys, Emio Greco
15-4 Springdance Utrecht Nl Andy deNys, Emio Greco
1-5 Bellevue Amsterdam Nl Andy deNys, Emio Greco
2-5 Bellevue Amsterdam Nl Andy deNys, Emio Greco
6-5 Lantaren/Venster Rotterdam Nl Andy deNys, Emio Greco
7-5 Lantaren/Venster Rotterdam Nl Andy deNys, Emio Greco
8-5 Lantaren/Venster Rotterdam Nl Andy deNys, Emio Greco
11-5 De Brandweerkazerne Leuven Be Andy deNys, Emio Greco
12-5 De Brandweerkazerne Leuven Be Andy deNys, Emio Greco
6-6 16th Dance Week festival Zagreb Croatia Andy deNys, Emio Greco
13-8 ImPulzTanz Vienna Austria Andy deNys, Emio Greco
15-8 ImPulzTanz Vienna Austria Andy deNys, Emio Greco
19-8 Tanz im August Theater am Hallische Ufer Berlin De Andy deNys, Emio Greco
IMK Documentation ModelPage 58 of 75 <Appendix>
20-8 Tanz im August Theater am Hallische Ufer Berlin De Andy deNys, Emio Greco
21-8 Tanz im August Theater am Hallische Ufer Berlin De Andy deNys, Emio Greco
12-9 Batie Festival Geneve CH Andy deNys, Emio Greco
16-9 Keuze van de schouwburg Rotterdam NL Andy deNys, Emio Greco
23-9 Korzo Den Haag NL Andy deNys, Emio Greco
24-9 Korzo Den Haag NL Andy deNys, Emio Greco
18-10 First Europ. Fest. Of Cont. Dance Moscow Russia Andy deNys, Emio Greco
29-10 Moving Mime festival Tilburg NL Andy deNys, Emio Greco
11-11 Monty Antwerpen BE Andy deNys, Emio Greco
12-11 Monty Antwerpen BE Andy deNys, Emio Greco
15-12 Sadsschouwburg Brugge Brugge BE Andy deNys, Emio Greco
19-8 Internationales Tanzfest Berlin Theater am Halleschen Ufer Berlin DE Andy deNys, Emio Greco
20-8 Internationales Tanzfest Berlin Theater am Halleschen Ufer Berlin DE Andy deNys, Emio Greco
21-8 Internationales Tanzfest Berlin Theater am Halleschen Ufer Berlin DE Andy deNys, Emio Greco
6-1-2000 Cultureel Centrum Beveren BE Andy deNys, Emio Greco
13-1 Cultureel Centrum Maasmechelen BE Andy deNys, Emio Greco
17-1 Theatre de la Bastille Paris FR Andy deNys, Emio Greco
18-1 Theatre de la Bastille Paris Greece Andy deNys, Emio Greco
19-1 Theatre de la Bastille Paris FR Andy deNys, Emio Greco
IMK Documentation ModelPage 59 of 75 <Appendix>
21-1 Theatre de la Bastille Paris FR Andy deNys, Emio Greco
22-1 Theatre de la Bastille Paris FR Andy deNys, Emio Greco
23-1 Theatre de la Bastille Paris France Andy deNys, Emio Greco
28-1 Cultureel Centrum Lommel Belgium Andy deNys, Emio Greco
1-2 Theatre National Rennes France Andy deNys, Emio Greco
2-2 Theatre National Rennes France Andy deNys, Emio Greco
4-2 Theatre National Rennes France Andy deNys, Emio Greco
5-2 Theatre National Rennes France Andy deNys, Emio Greco
8-2 La Garonne Toulouse France Andy deNys, Emio Greco
9-2 La Garonne Toulouse France Andy deNys, Emio Greco
3-3 Teatro Central Sevilla Spain Andy deNys, Emio Greco
4-3 Teatro Central Sevilla Spain Andy deNys, Emio Greco
25-5 Dans in Kortrijk Kortrijk Belgium Barbara Meneses, Emio Greco
27-5 L’ Opéra Leonardo de Vinci Rouen France Barbara Meneses, Emio Greco
3-6 Madrid en Danza Madrid Spain Barbara Meneses, Emio Greco
7-7 Internationale Tanzwochen Münster Munster DE Barbara Meneses, Emio Greco
8-7 Internationale Tanzwochen Münster Munster DE Barbara Meneses, Emio Greco
25-8 Edinburgh International Festival Edinburgh GB Barbara Meneses, Emio Greco
15-3-2001 Universiteitstheater Amsterdam NL Barbara Meneses, Emio Greco
IMK Documentation ModelPage 60 of 75 <Appendix>
23-3 MCA Chicago USA Barbara Meneses, Emio Greco
24-3 MCA Chicago USA Barbara Meneses, Emio Greco
29-3 Wexner Center Columbus USA Barbara Meneses, Emio Greco
30-3 Wexner Center Columbus USA Barbara Meneses, Emio Greco
31-3 Wexner Center Columbus USA Barbara Meneses, Emio Greco
1-4 Wexner Center Columbus USA Barbara Meneses, Emio Greco
5-4 Southern Theater Minneapolis USA Barbara Meneses, Emio Greco
6-4 Southern Theater Minneapolis USA Barbara Meneses, Emio Greco
7-4 Southern Theater Minneapolis USA Barbara Meneses, Emio Greco
20-7 ImPulzTanz Akademietheater Vienna Austria Barbara Meneses, Emio Greco
25-9 Festival Internacional de Buenos Aires Buenos Aires AG Barbara Meneses, Emio Greco
26-9 Festival Internacional de Buenos Aires Buenos Aires AG Barbara Meneses, Emio Greco
27-9 Festival Internacional de Buenos Aires Buenos Aires AG Barbara Meneses, Emio Greco
25-11-03 Teatro Comunale Ferrara IT Barbara Meneses, Emio Greco
26-11 Teatro Comunale Ferrara IT Barbara Meneses, Emio Greco
29-11 Festival d’Autunno Teatro Ariosto Reggio Emilia IT Barbara Meneses, Emio Greco
2-12 Teatro Novelli Rimini IT Barbara Meneses, Emio Greco
4-12 Teatro Comunale Modena IT Barbara Meneses, Emio Greco
7-12 Teatro Comunale Casalmaggiore IT Barbara Meneses, Emio Greco
IMK Documentation ModelPage 61 of 75 <Appendix>
04-10-04 Brakke Grond Amsterdam NE Barbara Meneses, Emio Greco
5-10 Brakke Grond Amsterdam NE Barbara Meneses, Emio Greco
2-11 Romaeuropa Festival Teatro Valle Rome IT Barbara Meneses, Emio Greco
3-11 Romaeuropa Festival Teatro Valle Rome IT Barbara Meneses, Emio Greco
26-11 Trafo House of Con. Art Budapest HU Barbara Meneses, Emio Greco
27-11 Trafo House of Con. Art Budapest HU Barbara Meneses, Emio Greco
28-11 Trafo House of Con. Art Budapest HU Barbara Meneses, Emio Greco
04-02-06 CC de Spil CC De Spil Roeselaere BESawami Fukuoka, Emio Greco, Nicola Mo-
naco
7-2 De Veste De Veste Delft NLSawami Fukuoka, Emio Greco, Nicola Mo-
naco
8-2 Schouwburg de Meerse Schouwburg de Meerse Hoofddorp NLSawami Fukuoka, Emio Greco, Nicola Mo-
naco
9-2 Schouwburg Schouwburg Tilburg Tilburg NLSawami Fukuoka, Emio Greco, Nicola Mo-
naco
10-2 Theater a/h Vrijthof Theater a/h Vrijthof Maastricht NLSawami Fukuoka, Emio Greco, Nicola Mo-
naco
14-2 Stadsschouwburg Stadsschouwburg Amsterdam Amsterdam NLSawami Fukuoka, Emio Greco, Nicola Mo-
naco
15-2 Stadsschouwburg Stadsschouwburg Amsterdam Amsterdam NLSawami Fukuoka, Emio Greco, Nicola Mo-
naco
17-2 De Vest De Vest Alkmaar NLSawami Fukuoka, Emio Greco, Nicola Mo-
naco
18-2 Tanzhaus NRW Tanzhaus NRW Düsseldorf DESawami Fukuoka, Emio Greco, Nicola Mo-
naco
21-2 Sradssschouwburg Stadsschouwburg Groningen Groningen NLSawami Fukuoka, Emio Greco, Nicola Mo-
naco
22-2 De Harmoniie De Harmonie Leeuwarden NLSawami Fukuoka, Emio Greco, Nicola Mo-
naco
25-2 Schouwburg Kunstmin Schouwburg Kunstmin Dordrecht NLSawami Fukuoka, Emio Greco, Nicola Mo-
naco
IMK Documentation ModelPage 62 of 75 <Appendix>
02-08-07 ImPulsTanz Volkstheater Vienna AUVincent Colomes, Emio Greco, Nicola Mo-
naco,
4-8 ImPulsTanz Volkstheater Vienna AUVincent Colomes, Emio Greco, Nicola Mo-
naco,
8-8 Opera Estate festival Teatro Astra Bassano ITVincent Colomes, Emio Greco, Nicola Mo-
naco,
21-9 Kaaitheater Brussels BEVincent Colomes, Emio Greco, Nicola Mo-
naco,
25-9 Maison de la Culture Amiens FRVincent Colomes, Emio Greco, Nicola Mo-
naco,
17-04-08 Springdance Huis a/d Werf Utrecht NL Ty Boomershine, Victor Callens
18-4 Springdance Huis a/d Werf Utrecht NL Ty Boomershine, Victor Callens
22-01-09 Theater Frascati Frascati 1 Amsterdam NL Victor Callens, Vincent Colomes
23-1 Theater Frascati Frascati 2 Amsterdam NL Victor Callens, Vincent Colomes
24-1 Theater Frascati Frascati 3 Amsterdam NL Victor Callens, Vincent Colomes
29-5 Contemporanea Colline festival Teatro Metastasio Prato IT Victor Callens, Vincent Colomes
20-11 Odeon de Spiegel Zwolle NL Victor Callens, Vincent Colomes
21-11 Korzo5hoog Den Haag NL Victor Callens, Vincent Colomes
24-11 Deventer Schouwburg Deventer NL Victor Callens, Vincent Colomes
25-11 Podium Twente Enschede NL Victor Callens, Vincent Colomes
3-12 Torino Danza Teatro Astra Turin IT Victor Callens, Vincent Colomes
4-12 Torino Danza Teatro Astra Turin IT Victor Callens, Vincent Colomes
18-10-10 Art Station Foundation Poznan P Victor Callens, Vincent Colomes
20-10-10 Teatr Studio Warsaw P Victor Callens, Vincent Colomes
IMK Documentation ModelPage 63 of 75 <Appendix>
page 1/2
Proposed time schedule day one: 9:00 arrival technical crew/unloading/building light 12:30 lunch 13:30 finish light/building set 15:00 focus light/building sound 18:00 dinner 20:00 dancers on stage 21:00 run-through w light and sound 23:00 end day two: 10:00 corrections 12:30 lunch 16:00 dress rehearsal 17:30 dinner 19:00 clean stage 20:00 performance (75 min.) 21:15 end performance strip-out 1,5 hrs
Technical Rider 120410 Extra Dry – ICKamsterdam / Emio Greco | PC This technical rider forms an integral part of the contract you have concluded with ICKamsterdam / EG|PC / Stichting Zwaanproducties. Lighting and sound are a vital part of the performance. If you cannot comply with this rider, please contact us as soon as possible. We can make an adapted plan for your venue. Technical coordinator: Paul Beumer E-mail: [email protected] Mob.tel.: +31(0)6 143 430 70 Office: Witte de Withstraat 117-3; 1057 XR Amsterdam; +31 – (0)20 – 616 72 40 General We ask: - Complete house-crew (min. 2 light, 2 stage, 1 sound) - a stage of 12 meters wide, 10 meter deep, light at 7 meters - F.O.H. position inside auditorium 3m by 1,5m (not under balcony) - three pairs of legs, 6 borders - 3 pieces of triangular truss (e.g. Prolyte X30d) 11 meters each - a completely dark stage, without spill from exit lights, etc. - a clean stage (sprung floor) - dressing rooms with water, fruit, showers and towels for 2 dancers - ironing board and iron in a dressing room (we don’t need wardrobe) - the houselights will be used at the lowest possible level - there are no fly cues during the performance Light We ask: lx-bars: 86 x 1kW Par64, 240V, CP 61, NSP 61 circuits 3 x 1kW Par 64, 240V, CP 60, VNSP 9 x 2 kW PC with barndoors 2 x 2 kW profiles with shutters 8 x 1 kW floods/Cyclights 1st lx and 6 x 1 kW PC with barndoors F.O.H. bridge: 7 x 2 kW profile with shutters 10 circuits total: 71 x 2 kW circuits plus houselights We will bring:
• Lighting desk Strand Light Pallette with monitor • We have a wireless network for remote.
page 2/2
Sound We ask: - PA system suitable for theatre venue. • 2x full range speaker (L + R, flown), (e.g. d&b Q7) • 2x full range speaker (Centre cluster), (e.g. d&b Q7) • 2x 2 subs, (Sub), (e.g. d&b Qsub)
• Separate lines for L,R,Cluster,Sub an monitor L and R - Monitor • 4x full range monitor on floor (DSL, USL, DSR, USR) in two groups (left and right) -Mic/Players/Console • 1x CD players with auto-pauze
We will bring: • Yamaha LS9 sounddesk • 2 x CD player • Laptop (on 1/4 inch jack) Shipping We will bring: • 2 flight cases with dance floor, fireproofed curtain, accessories • 1 toolbox • 1 flightcase with sound equipment • 1 flightcase with Lighting desk • 1 VGA 17’’ LCD Monitor for our lighting console approx. 700 kg, 6 pieces
Appendix D: Technical Rider
IMK Documentation ModelPage 64 of 75 <Appendix>
Number Name # Fixtures Fixtures Cue Wait Cue Fade Down Wait Down Fade
1 Walk in 16 70>74+80>9070>74+80>90 3
2 Start performance (fade-out) 16 70>74+80>9070>74+80>90 12
3 Cd 1-1 1.27 allow 6 seconds 5 41>42+44>4641>42+44>46 0
4 Vincent bends backwards (head to audience) 5 41>42+44>4641>42+44>46 50
5 Follow Vincent 4 41>42+44>4541>42+44>45 50
6 Vincent turns, face to audience 3 41>42+44 40
7 Port-de-bras 2nd time arms up (grasp light) 4 41>43+45 90 10 90
8 End of trumpet CD -1:52 6 3>6+43+45 20 3 20
9 On arms down 6 2>7 3 9-10-11 volgen elkaar automisch op. Het zijn in tijd geprogammeerde follow cue's
10 | 8 1>8 3
11 \/ 8 1>8 3
12 After spagata they swing heads backwards (coming DS) 16 1>16 4.3
13 24 1>24 4.3
14 | 32 1>32 4.3
15 32 9>40 4.3
16 | 24 17>40 4.3
17 16 25>40 4.3
18 | 16 25>40 4.3
19 24 17>40 4.3
20 \/ till cue 47 32 9>40 4.3
21 32 1>32 4.3
22 24 1>24 4.3
23 16 1>16 4.3
24 16 1>16 4.3
25 rolling light 24 1>24 4.3
26 32 1>32 4.3
27 32 9>40 4.3
28 24 17>40 4.3
29 | 16 25>40 4.3
30 16 25>40 4.3
31 | 24 17>40 4.3
32 32 9>40 4.3
33 | 32 1>32 4.3
34 24 1>24 4.3
35 | 16 1>16 4.3
36 16 1>16 4.3
37 24 1>24 4.3
38 | 32 1>32 4.3
39 32 9>40 4.3
40 \/ 24 17>40 4.3
41 16 25>40 4.3
42 1st row stays 16 25>40 4.3
43 24 17>40 4.3
44 32 9>40 4.3
45 40 1>40 4.3
46 \/ 32 1>24+33>40 4.3
47 = 16 1>8+33>40 4.3
48 After swoosh 42 1>42 0 0.2
49 | 42 1>42 0 1
50 CD 1-7 2:08 40 1>40 15
51 When their shoulders hit the floor 41 1>40+55 0.2
52 When they reach upstage left corner 49 1>40+47>55 120
53 Nico looks at audience LEFT 49 1>40+47>55 20
54 Walk US, foot to SR 6 52>55+58>5952>55+58>59 4
55 | 10 52>55+58>6352>55+58>63 6
56 | 6 58>63 5
57 \/ 8 sec. after 2nd balance 4 60>63 8
58 Applause 6 sec. -> GM!!!!! 51 1>40+47>57 4
59 51 1>40+47>57 4
60 51 1>40+47>57 4
Appendix E: Cue List
IMK Documentation ModelPage 65 of 75 <Appendix>
Emio Greco | PC
Lighting design: Henk Danner
Technical coordinator:Paul Beumer
Email: [email protected]
Mob.tel: +31 (0)6 14 343 070
Extra dry Symbol Name Wattage Count
USITT Par 64 NSP 1000 86
USITT Par 64 VNSP 1000 3
Cantata 26/44 2000 9
Iris 1000 8
ADB Europe C203 plan 2000 9
ADB Europe C103 plan 1000 6
Appendix F. Light Plan Appendix G. Soft Materials (Doeken)
IMK Documentation ModelPage 66 of 75 <Appendix>
Part Section Scene Time-code of video Title Directions Position on stage Movement phrase/qualities
1 0.0 0:00:00 Introduction
conceptual / physical introduction on
the performance sharing the theme of
synchronicity
0.1 0:00:00 one/dual body presenting the body, real-fictionmiddle backstage standing be-
hind each other
0.2 0:01:30 solo (two bodies) curiosity, discoveryfacing each other from edges
of stage
1.0 0:11:20 Synchronicity / Unisono
Coincidation in time of two more or less
causal connected actions with similar
meaning
1.1 0:11:34 port des brasone body with four arms, pure ballet
arms
mid stage center standing be-
hind each other
1.2 0:15:25 Bellsinsisting and mechanic movements or legs
mapping bell sound
traveling from left to right
back corner
2.0 0:17:10Syncope / Two trains passing
each other
(the accent changes) the accents moves
by connecting to the next heavy to the
Appendix H: Structure Extra Dry
The geographic center of the performance is the section from Synergy
called ‘Vivaldi’ serving as turning point from Part 1 into Part 2.
On the following table more detailed information on the structure of the
performance is given:
IMK Documentation ModelPage 67 of 75 <Appendix>
0:18:00 Syncopeopening the space, travelling together,
no accents, endless
horizontal travelling at back
stage
passing through shoulder,
needles, stick, helicopter,
fly sitting, cutting, aureol
3.0 0:22:52 Synergie / Corps de balletIncreased functioning by a combination
of different means
3.1 0:22:52 synergy relation with light, opening space front diagonal right front stage, 5th element
3.2 0:24:14 Flamingo (sitting on one leg) let the light work by itself left back stage corner flamingo, scup
4.0 0:25:14 Syncretisme / Rum Cola
Phenomena in mixing religious (re)pre-
sentations and rites from different ori-
gin into a new religious form
4.1 0:25:28 changing perspectiveconstant positioning of the body , no
stop, never settled
middle stage travelling back
facing backwards
changing perspective, lock-
ing
4.2 0:25:54 diagonal flat constructions in rhythm
travelling from left front
diagonal to back right diago-
nal
chaine action, egypt, first
scape
4.3 0:27:04 aureol back sensing spaces around bodyin diagonal/ front stage cen-
teraureol
5.0 0:27:57Synergy / Prime minister of
Italy versus the pope
cooperation between church and state /
between faith and ration
5.1 0:27:57 vivaldi dance, speed, joy, exhaustion
start bumping on the back
wall, change of light and
sound
flying sitting, 2nd echapes,
kiss, hand scape, walking,
shoulder split, locking
arms
IMK Documentation ModelPage 68 of 75 <Appendix>
2 6.0 0:30:30 Synchronisation / similarity
Coincidation in time, simultaneous pass-
ing by, total agreement between fric-
tion, phase and frequency.
6.1 0:30:40 sensing each other identities right front stage
6.2 0:33:20 fire works/solo, hitting the body making sounds as
fire works
left front stage/ 1 body in-
side light 1 body outsidefire works quality
6.3 0:38:04 william burrows,listening to each other , being syn-
chrone in the distance
image of one body with dis-
tance in between, 1 back
stage, 1 front
6.4 0:42:27 bells *movement relates to sound quality, com-
ing together againeach in a corner of back stage bells quality
6.5 0:44:57 multiples*
different body parts are active at the
same time, multiple awareness, also to
each other
left front stage corner multiplies quality
6.6 0:47:41 echapes *
quality of scaping, direct movement on
space, guided by the energy of the move-
ments, long towards outside the body
open to all space echapes quality
6.7 0:48:49 zig zagpassing each other the multiple quality
moving in zig zag diagonal upwards stage
travelling up/down through
stage diagonals
different material and daily
actions
6.8 0:49:50 knee walkmapping with the action the sound of the
musictravelling back left stage knee walk
7.0 0:52:18 Synthese / The best ofConnection of separated elements into a
new whole
IMK Documentation ModelPage 69 of 75 <Appendix>
7.1 0:52:18 looking out,*
no engagement / bianco feeling, light
change cue to go neutral back on stage /
action
step front / almost outside
stage looking at audience
7.2 0:53:32 curieux*
searching, body isolations, reaching the
end of stage, balance and lift the body
endlessly
moving towards back stage to curieux
7.3 0:58:40 end black outstanding side by side right
back corner
IMK Documentation ModelPage 70 of 75 <Appendix>
Appendix I: References Interviews
— Interview with EG and PC by: Gaby
Wijers, Annet Dekker, Vivian van
Saaze, Scott deLahunta, 16.04.2009,
Amsterdam (audio recording & tran-
script)
— Interview with EG and PC by: Gaby
Wijers, Annet Dekker, Vivian van
Saaze, 18.11.2009, Amsterdam (audio
and video recording & transcript)
— Interview with EG and PC by: Gaby
Wijers and Annet Dekker, 08.10.2010,
Amsterdam (audio recording & tran-
script).
— Interview with Paul Beumer by Annet
Dekker, 22.03.2010, Amsterdam (audio
and transcript).
— Discussion on notation Extra Dry
during diverse sessions Gaby Wijers,
Bertha Bermudez, Barbara Meneses
2009/2010
— Interview with Barbara Meneses and
Bertha Bermudez by: Gaby Wijers,
Annet Dekker, Vivian van Saaze,
28.10.2009
— Interview with Barbara Meneses by:
Gaby Wijers, Annet Dekker, Vivian van
Saaze, 15.04.2009
Reviews
— Newspaper clippings and reviews
of Extra Dry
— Folders programma’s 99–00, 01–02,
04–09
— Folders press 99–02 – 31/10/09
— Folders diverse publications
Literature
Bermudez, B. and Emio Greco/PC (eds.)
(2007). Capturing Intention: An interdis-
ciplinary research project around dance
notation, documentation and re-creation.
Amsterdam, Amsterdamse Hogeschool
voor de Kunsten and Emio Greco / PC.
Braembussche, A. van den (2001) It’s life
Jim but not as we know it. A philosophical
approach on Emio Greco / PC’s trilogy.
Amsterdam: Stichting Zwaanproducties
Broek, C. van den ‘Als twee lepeltjes’ In: De
Morgen 8-9-99
Fabius, J. and I. van Schijndel (eds.)
(2007). Company in the School. Between
experiment and heritage. Amsterdam,
Amsterdamse Hogeschool voor de Kunsten
and Emio Greco / PC.
Guatterini, M. Teatro Comunale di Moderna
Programma 04-12-2003, vertaling Mies
Panneman
Morris, D. ‘Greco: nothing to hide’, In The
Scotsman 25.08.2000
Orfano, R. De triomf van het lichaam, Pro-
gramma van het Holland Festival, 12-12 juni
2002 interview Lonneke Kok.
Peeters, J. Stirred, not shaken, In: Veto nr.
30, 10 mei 1999
Putt, F. van der, Purgatorio Popopera,
epiloog Mestreech, oktober 2008
Schlagenwerth, M. (1999). The Echo of
Body. In Ballet Tanz. Yearbook 99. Mani-
cally Charged Presence. A. Lepecki (ed.):
118–123.
Smeets, G. ‘The wake-up calls of Emio
Greco and Pieter C. Scholten’, Amsterdam
Augustus 2004
Start, I. ‘Emio Greco (1965)’ In Dans
(2004)
Veld, W. in ‘t, ‘Emio Greco kiest voor goud’
In: Veluws Dagblad, 7-4-1999
Emio Greco / Pieter C Scholten duits/
engelse tekst met de 7 necessities lit opg
nakijken
Hedy Weiss in the Chicago Sun (3)
IMK Documentation ModelPage 71 of 75 <Appendix>
Other
Materials provided by Bertha & Barbara:
Part of former glossary, Notation of Hell
(Bertha), Terms used by Laban and dance
analysis (Bertha).
Videoregistration Extra Dry:
Extra Dry 1999, 1st cast compilation
19 min on DVD
Extra Dry 2004, 2nd cast,
full version on DVD
Extra Dry Brakke Gond 4-10-04, dv
Extra Dry Dordrecht 25-2-2006
Copies of sketches, images and texts from
Pieter Scholten’s dossier
Dance and Media, A Research Project on
New Ways of Dance Notation and Docu-
mentation: Reader, EG|PC Bertha Bermu-
dez Pascual
Materials provided by the office: Theatre
plan, Play list, Technical reader
Reader Emio Greco | PC: Reconstruction
Repertory, Style definitions & Innovation.
Notation Sytems & Reflection
www.ick.nl
DVDs of registrations of Extra Dry
Background literature
Adshead, J., (ed.) (1988). Dance Analysis.
Theory and Practice. London, Dance Books
Ltd. (theory)
Broek, Moos van den (2010). Dansen zoals
het geschreven staat TM maart 2010.
Delahunta, Scott and Norah Zuniga Shaw.
Constructing Memories: Crestion of the
choreographic resource. In: Performance
Research 11 (4) pp. 53–62
Delahunta, Scott and Norah Zuniga Shaw.
Constructing Resources Agents, Archives,
Scores and Installation. In: Performance
Research 13 (1) pp.131–133
Eggers, Jessie (2009). Dance Knowledge
– What Bertha Knows, Writing Dancing II.
Hay, D. (1994). Lamb at the Altar. The
Story of Dance, Duke University Press.
Hermes-Sunke, K. (1999). “Reconstruction
/ Recreation: Reflections Practice adn
Esteem of Repertoire.” Experts of ICKL
Proceedings 1999.
Hutchinson Guest, Ann (1984). Dance
Notation. The Process of recording Move-
ment on Paper. London: Dance Books.
Koteen, David, Nancy Stark Smith (eds)
(2008). Cought Falling. The confluence of
contact improvisation, Nacy Stark Smith,
and other moving ideas. Northhampton,
Contact Editions. (particular notation sys-
tem)
Kurihara, N. (2000). “Hijikata Tatsumi: The
Words of Butoh.” TDR: The Drama Review
44(1): 10–28.
Lammert, A. (2008). Von der Bildlichkeit
der Notation
Lehman, Th., (ed) (2002) Schreibstueck.
Lepecki, A. (1996). “How Modern is Mod-
ernism? The Relevance of Reconstruction.
An Essay by Andre Lepecki about the Mar-
tha Graham Retrospective.” Ballet-Tanz.
Leigh Foster, S. (1992). Dancing Bodies.
Incorporation Zone 6. In: J. Crary (et.
al) Bradburry, Tamblyn & Boorne Ltd.:
480–495.
MacDonald, C. (2009). Scoring the Work:
Documenting Practice and Performance in
Variable Media Art. LEONARDO, Vol. 42,
no. 1, pp. 59–63
Nachbar, M. (2009). “Training Remember-
ing.” (on reconstruction)
Nachbar, M. (2002). “Reconstruction re-
visited.”
Rey, Geraldine and Marion Bastien. “Inter-
active Design Project: ‘Labanotation’. (on
notation and reconstruction)
Santone, J. (2008). Marina Abramovi’s
Seven Easy Pieces: Critical Documentation
Strategies for Preserving Art’s History.
LEONARDO, Vol 41, no.2, pp. 147–152
Stewart, N. “Re-languaging the Body:
phenomenological description and the
dance image.” Performance Research 3(3):
42–53.
Thomas, H. (2004). Reconstruction and
Dance as embodied textual Practice. Re-
thinking Dance History: A Reader. A. The
geographic center of the performance is
the section from Synergy called ‘Vivaldi’
serving as turning point from Part 1 into
Part 2 On the following table more detailed
information on the structure of the perfor-
mance is given:
IMK Documentation ModelPage 72 of 75 <Appendix>
Appendix I: References > Other
Copies of sketches, images and texts from Pieter Scholten’s dossier
IMK Documentation ModelPage 73 of 75 <Appendix>
Appendix I: References > Other
Copies of sketches, images and texts from Pieter Scholten’s dossier
IMK Documentation ModelPage 74 of 75
Colophon Concept / Editors
Annet Dekker, Vivian van Saaze,
and Gaby Wijers
Editorial Advice
Bertha Bermudez, Marijke Hoogenboom
and Scott deLahunta
Thanks To
Amsterdam School of the Arts – Dance
Department
Amsterdam School of the Arts – Research
Group Art Practice and Development
ICKamsterdam – Emio Greco | PC
Netherlands Media Art Institute (NIMk)
University of Utrecht – Theater Studies
Graphic Design
Stephen Serrato
Production
Bertha Bermudez
Publisher
ARTI, Artistic Research,
Theory and Innovation
P.O. Box 15079, 1001 MB Amsterdam
www.lectoraten.ahk.nl
© 2010 ARTI, Artistic Research, Theory
and Innovation and ICKamsterdam – Emio
Greco | PC.
www.insidemovementknowledge.net
IMK Documentation Model<Introduction>Page 75 of 75