Hated, loved and nearly forbidden the performance UNA comes from the misty darkness of the woods to tell the stories of creatures and nightmares that humans have formed. Stories about our polluted collective unconscious, developing tighter connections between live music, shouting, singing and irregular movement.
Rediscovering and questioning again and again the role of a child on the stage and why we feel so uncomfortable by its presence on the stage. In this piece by Rootlessroot the theatre of the body collides into a form that we call shouting opera - full of lies and secrets.Man is bound to must do's.Man endures or fights to escapeMan tries to resistMan is the only creature that gets terrified by himself.Man takes off himself|The self is a piece of clothing that burns the fleshIn the misty darkness of the woods I will tell you a secret as if it was a game. Come, let me tell you the truth, you 'll like it. I will whisper everything I know about the life we are afraid to believe we live. It's me, who will be eaten because I m just another product to be consumed. It's me, yourself.
Choreography and concept: Jozef Frucek/Linda KapetaneaCreated and performed by: Martha Frintzila, Jozef Frucek, Linda Kapetanea, Vasilis Mantzoukis, Edgen Lame and Marianna Tzouda,
Live music: VASSILIS MANTZOUKISScenography: RootlessRoot and Dimitris Nasiakos
Text: Jozef FrucekCostume:Katerina Theofanopoulou
Light design:Dimitris Nasiakos
Duration of the performance: 70 min.
Video edited by Maria Athanasopoulou
I've rearly, if ever seen a production with such glory in its execution and such repulsive content.
What makes one feel disgusted – and perhaps deliberately – is the content with its perpective on world and humans.
The worst thing is that the negative nature of the performance is executed with such talent and taste that one only can admire
UNA – Unknown Negative Activity is typical for the recent work of RootlessRoot Company, balancing on the edge of what is possible to perform on stage. Musical accompaniment, singing, spoken word surpass the boundaries of usual dance theatre and set the trend towards which the contemporary dance art is nowadays heading to.
... In front of us, there is hypersensitive stalker with overexagated reactions to sound and touch. The role of a girl is heightening the psychological tension and real physical danger. It is nearly a mythological element that communicates death and her transformation into a puppet.
You have seen 1,5h of immense and extreme physical theatre ...something very pessimistic and dark – definitely no entertainment in for Christmas.
You don't feel cathartic after this performance. With its apocalyptic sights it's rather a mind burning experience.