Bitef

MORE OR LESS INFINY

INTENTIONS NOTES In mathematics, the line goes from infinity" to "+ infinity". That's why we chose the French title Plus ou moins l'infini, which translates into English as More or Less, Infinity. We started our research from the possibilities of the line: Line as an abstract concept, line as a concrete form and line as a metaphor. A line drawn freehand inspires the theatrical form: both its perfection and the approximation of its shape. In human terms, it is to want something strongly, yet fail to perfectly realize it. Just like a line, fragile and powerful at the same time. The line is clearly a direction, back and forth, and it suggests movement. That's certainly why we created More or Less, Infinity as a kinesthetic show. One section of the work is based entirely on the movement of lines in space. While another section is built with the movement of the body in space. It reveals a dialogue between movement and immobility, and between human beings and space. We live in a very fast time. The digital age, connectivity, and the concept of globalization have all radically shifted how we look at the arts and ourselves. Whether we like it or not, its impossible to separate ourselves from these concepts. With the technological ability to instantaneously copy or mutate any source, how does one create an original work? Perhaps the solution is to embrace the possibility of mixing ideas, to hybridize from many different sources? Which brings us to More or Less, Infinity. It's a hybrid from the start. First of all, it's a collaborative project, between international artists whose shared language is spatial and choreographic, rather than verbal. Secondly, it embraces the idea that the arts can be mixed in new and interesting ways. It's a combination of circus, dance, theatre and visual art, which results in something new, and fresh —and can't easily be read simply as one form or the other. We like that position. It seems to best reflect our times. The computer makes it possible to cut, paste, sample and composite any image. We think our theatre should draw from those same processes, not hibernate from them. Aurelien Bory Phil Soltanoff BIOGRAPHIES PHIL SOLTANOFF is the director of mad dog experimental. His latest work, i/o, in collaboration with sound artist Joe Diebes, premieres at Theatre Garonne in November 2008. He is also executive director and co-founder (along with performing artist HanneTierney) of Five Myles, the OBIE-award winning alternative performance/exhibition space in Brooklyn, NY. Original mad dog creations include: To whom it may concern (31 BITEF 97), Strange Attractors, Five movements for people and sound, TIME/PIECE, wrench, Experimental Actions and LEMnation. Phil Soltanoff has created two works in collaboration with Aurelien Bory and CIEIII : PLAN В and MORE OR LESS, INFINITY.

Phil Soltanoff

Phil Soltanoff and Mad Dog took part in 31 Bitef 97; To whom it may concerne, directed by Phil Soltanoff (USA). It was performed in the space of unfinished building of National Bank of Serbia at Slavija Square. One of his aollaborators, Hanne Tierney (New York, USA) directed two performances at the same 31 Bitef 97; Seagull by A.P. Chekhov (performed in CZKD) and Flatland by Jene Highstein and HanneTierney (BitefTheatre). The spectacle Plan В by CIE 111 was on tour in Belgrade in Centre Sava in organization of French Cultural Centre.