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DART Dance Company The one AND lonely

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DART Dance Company – The one AND lonely

DART Dance Company perform two compelling contemporary premiers.

These sensual and musical pieces will carry the audience into a world filled with mother nature and ecstasy. Rich in musical nuances, this dance production will be a walk through a vast and varied emotional landscape, leading to a world of freedom.

The dancers will unleash their creative forces bringing to life the new works of Jiri Pokorny with his bizarre, pulsating and uncompromisingly physical piece The one AND lonely, while Roy Assaf will carry the audience into a sensitive and pure world with his new work called  The Birds don’t sing, They Screech in pain.

The DART Dance Company is a contemporary dance company based in Berlin, founded in 2013 under the artistic direction of Kinga Vargova. DART has so far appeared in over 13 countries and has designed and implemented around 55 productions for full-length and
short programs by 2024. The movement language of the company combines elements of classical ballet and contemporary dance.

Nearest tube is

14 & 15 May

First act: The one AND lonely by Jiri Pokorny
Second act: The Birds don’t sing, They Screech in pain by Roy Assaf

Jiri Pokorny: The one AND lonely
“The one AND lonely” is a new work that centres around themes of our social environment. A system that breaks down into little components, units or different entities in which we forget to see the connections between them.
We may be alone but we become lonely if we do not connect.
The “AND” is the point of overlap and it represents unity, a place where we may discover a whole new landscape of connections.
It brings us to a higher state of understanding between one another as the meaning of “AND is common to both.“ You think because you understand ‘ONE’
You must also understand ‘TWO’
Because one and one make ‘TWO’
But you must also understand ‘AND’
– Rumi”

Roy Assaf:  The Birds don’t sing, They Screech in pain
“One of life’s most difficult challenges is not knowing, and I bow deeply to those who manage to sit with the unknown without losing their souls. Every time I enter the studio, I recall that our starting point is the unknown, and that my job is to practice holding it. As tools of this practice, I employ symbols that occupy me, rituals that disturb me, expectations that frighten me, patterns that attract me – especially those that carry a historical charge. I like to scatter them in the space of creation and to see what happens, to test whether they are able to transform.”

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