archIved No. 2 is a result of a research that dealt with the ‘evil’ potential of the body. Being confronted immediately with moral implications, but having the desire to go beyond fixed categories the body on stage explores ‘evil’ as a physical force expressed in movement. Hereby the evil is liberated from a merely moral definition and representation. The psychoanalytic understanding of the evil, which claims it as a human quality of possessing a desired persona and hidden shadows in one body, is explored by choreographic means. From this starting point, archIved No. 2 has been developed in a very personal journey through imaginative bodies, personal phantasies and body history.
A female performer confronts her own self-constructed life-story. She encounters a world that is her puzzle, her future, past and present. The piece is about hidden and unconsciousness physical forces that get unveiled through the performance, and impose a transformative impact on the body. The female body enters a dialogue with her shadows. The dust over memories, her fiction and biography will dissolve in the act of remembering. Dark spaces are highlighted.
The body spirals through different narratives, different physical forces and lets familiar and strange bodies appear on stage.
archIved No. 2 is also a space where the female body – seen as a projection surface in society– is going through physical and expressive states that aim to unveil clichés and images of one female body. It is an investigation of transformative potential of one body in a frame that seeks the play of proximity and rejection, intimacy and distance between the performer and audience. In the end the body is no longer navigating through a solo. The intersection and interplay of different outer and internal sources and narrations take over the body.