I won’t lie
If I tell that
What I am looking for
Art is as forceful as science
It just focuses on what we can’t measure
Why did nature come up with mortality?
How is it that
Before we have a chance to understand
The story of life?
Language and bodies
The arrow of time
Stretch the Boltzmann’s
Almost always increasing entropy
Order and DIVERSITY
That are destined to become
Dead and cold universe
-The oldest memory-
-I start with more
And die with less-
It is about the stone
The Perception of time
The Scale of time
The Life of the stone
The Life of life
For their latest piece, STONES AND BONES, RootlessRoot worked with the English sculptor Peter Randall-Page to create a performance about the transience of human existence. White marble – a material with metaphysical dimensions that constitutes the bedrock of European civilization – lies at the core of the work, even though its natural place lies inside majestic mountains, far outside theater convention.
In STONES AND BONES, five female performers – dancing to an original score by Vassilis Mantzoukis – carve out a poem about the fragile nature of human existence and the need to leave our mark on the world.
Artistic directors and choreographers
LINDA KAPETANEA AND JOZEF FRUČEK (ROOTLESSROOT)
LINDA KAPETANEA, ELENA TOPALIDOU, IRO KONTI, HYAEJIN LEE
Songs performed by
VASSILIS MANTZOUKIS, KOSTAS NIKOLOPOULOS, NIKOS PAPAIOANNOU, LAMPROS PAPANIKOLAOU
Set design & visual contributors
THOMAS RANDALL-PAGE, PETER RANDALL-PAGE
*Additional Song ‘HOW SHOULD I YOUR TRUE LOVE KNOW’ Lyrics: The first of Shakespeare’s Ophelia’s ‘Mad Songs’, Hamlet, Act IV Scene 5. Traditional Music of unknown author
Production management & touring
Stones & Bones tour is supported by ONASSIS STEGI – ‘Outward Turn’ Cultural export program and funded by the Hellenic Ministry of Culture and Sports for its European tour production co-ordination
Matter and body are tamed in the reflective «Stones and Bones» and the limits that set apart the performers’ expression from the audience’s apperceptions are widened, it has a redeeming effect.
The weight of existence, as perceived on stage and as fleeing from it, as born again and again through this heartrending performance, cannot be measured, cannot be weighted, it doesn’t fit in equations or shapes. [...] The female performers on stage are wild beasts, they are fragile, they are elusive but not alone.
Spheres, cubes, tetrahedrons, icosahedrons... an archetypical universe is captured in Peter Randall-Page‘s sculptures as the female performers sink into the shape and weight of objects, knowing that everything will end soon for us humans.