Nature of the project
With this piece, the Company marks ten years of working in Spain and the end of a cycle as we come full circle after those first intuitions and those first passions that began years ago.
It is no coincidence for All Ways to consider a circular composition, in constant motion, as its starting point. It is a reflection of the company’s trajectory, one that has seen a consolidation of one language, one search and one method. Spain is the home where the projects were generated, and we have traced out many paths around that center. We have seen how our work has traveled all over the planet.
In this, the company’s latest proposal, we explore the utopia of permanent harmony, a state that is reached after personal conflicts are resolved and we have found our rightful place on this Earth. This encounter requires pivoting on every daily setback, on every routine problem, and by doing so being able to evolve, climb, resolve the shadow that pours unconsciousness on our decisions.
The Path is one of the most ancient archetypes of the human psyche. As such, we see the dancers as travelers who never walk alone, tracing out multiple paths that coexist and intertwine in the pursuit of harmony. Without a path we feel lost, we are filled with darkness and confusion, directionless, flying blind with no compass or stars to guide us on dark nights.
During the piece we travel on a path that covers five landscapes of life and emotion. The initial state is one of loss, a place where everything is possible and that triggers the possibility for a search, the second stop along our intended path, the first steps guided by our initial intuitions. After the search we reach the dreamland, a boundary where the past and future shape a present dream. After that, falling in love is inevitable, with the arrival of love as a force and hope that launches us toward the final stage, where our conscious construction of ourselves results in an intimate encounter with what we are.
The seven dancers who perform All Ways are in constant motion from the start, an “inertia” that seems to compel the bodies to move. This inertia courts “harmony”, but to do so it may have to cross unstable, sometimes tortuous, territories before it can reach a state of ascension.
The drive to ascension that feeds on the circular and elliptical motion involves an effort to transcend the human condition and reach a higher cosmic level. Only after resolving our own personal histories can we gain an understanding of our place on this planet, and humbly achieve a sense of existence.
Contact is essential to build and specify the union, a single body formed by seven dancers. This exploration of contact in the company’s recent projects has led us to systematize the way we work into an unending source of creative materials, generating compositions that involve studying instability, falling, speed, gravity, an attraction to the heavens…
En esta ocasión, la Compañía presentará una adaptación de la obra al espacio arqueológico en el que se enmarca (Termas de Diocleciano), resultando de esta manera su participación en O Festival como una revisión y puesta en escena única.