During the first part of the piece, Elisabeth does her job; from warming up and stretching on stage, she performs a physically challenging, yet visually appealing, choreographic object made on her. The positions chosen are based on her daily stretching and transformed into a choreographic/art object. This first section shows her fully engaged in re-performing a dance. The second part reveals her body as a document; she performs memories, which is what I consider to be traces of experiences filtered by her body. While remembering previous dance experiences and repeating some past improvisations made in the studio, her ‘own’ movement material comes in. She creates her own archive by rehearsing and repeating this material.

The videos first show bits of her rehearsing. They are part of the experience of the performance itself. Finally, by connecting her improvisations to the documentation of her early dance training, a wish to understand how she has changed and where her movement comes from emerges. The video material as a whole becomes part of the ‘now’ and bring the documentation of past events into a present experience.
Danz Magazine