Ayelen Parolin & Lisi Estaràs, Belgium
Concept & Choreography: Ayelen Parolin & Lisi Estaràs
Play: Lisi Estaràs
Music: Bartold Uyttersprot
Dramaturgy: Sara Vanderieck & Olivier Hespel
Light design: Carlo Bourguignon
Costumes: Dorine Demuynck
Scenic object: Nicolas Vladyslav
Production: RUDA asbl Coproduction: Charleroi Danses / Les Brigittines, Bruxelles / CDC Le Gymnase – Roubaix / Petites Scènes Ouvertes (PSO) Support Fédération Wallonie-Bruxelles – Service de la Danse / WBI / WBT/D Studio support: Hellerau – European Center for Arts, Dresden / Les ballets C de la B, Ghent / Grand Studio, Bruxelles
Thanks to Clara Bauer as well as all the work that have fed this solo (Wolf, VSPRS, C(H)OEURS, Tauberbach, La Mancha, Primero/Erscht, No Wonder, Ladycock, Dans Dans)
Running time: 40 minutes
Ayelen Parolin made a choreographic impact with her very personal solo, 25.06.76. The title refers to her own date of birth, and this piece is akin to a singular choreographic autobiography. The basic material is taken, in the form of fragments, from creations in which she participated, either as a student, performer or a choreographer. This solo was created in 2004, and has since toured constantly, contitually extended with new elements.
In 2014, while pregnant, Ayelen Parolin gave another choreographer and performer from Argentina, Lisi Estaràs, the opportunity to take her place on a number of dates. This lightning-bolt of an adventure for both women was the starting point of a desire to deepen their connection, an attempt to bring together their two personalities and writing styles, highlighting some similarities and many differences...
By employing the principle of choreography to create the solo resulting from their meeting, and its relationship with identity (unstable construction, resolutely plural and fluid), the two artists have created a piece which is rich in contrast, even in diffraction.
This is an on-stage solo where a woman, seemingly haunted/mesmerized by herself, and hemmed in by multiple strands of heritage, seeks to extricate or exhume her own history, along with her relationship to the world. Standing at a crossroads between vulnerability and assurance, control and ruin, this Esclava is actually trying (like everyone else) to grab the “right” ropes in the chaotic flow of thoughts and emotions, in order to better achieve the illusory state of letting go, one that is nonetheless seen as so essential...
(Buenos Aires, Argentina, 1976) studied at the National School of Dance and the San Martin Theatre in Buenos Aires. In Europe she followed the e.x.e.r.c.e formation in Montpellier. As a performer she worked for Mathilde Monnier, Mossoux-Bonte, Jean-François Peyret, Mauro Paccagnella, Louise Vanneste, Alexandra Bachzetsis, Anne Lopez, and Riina Saastamoinen. She has created and shown her work in Belgium, France, Italy, Spain, Norway, Finland, Germany, Austria, Switzerland, Luxembourg, Estonia, and Argentine. She was a laureate of Pépinières Européennes for Young Artists Programme XXL.
In her latest work Heretics,
Ayelen Parolin collaborates with composer Lea Petra for the first time. Lea performs a piano piece live during the performance. Heretics
is an obsessional triad involving endurance, repetition, and variations on the triangle as a leitmotiv. In 2015, she has focused on women, first with the duet Exotic World
and then with her new solo La Esclava
with Lisi Estaràs.
In July 2016, she will present in the Seoul Arts Center Nativos, a new work created in the same
spirit of endurance and performance as Heretics, but with 4 Korean dancers, the composer Lea
Petra and a Korean percussionist.
Ayelen Parolin is one of four winners of the Fellowship awarded by the Pina Bausch Foundation
for 2016. For May 2017 she is preparing an upcoming group project Autoctonos for the
KunstenFestivaldesArt in Brussels.
She is in artistic residence for 2016/2017 at Théâtre de Liège, in administrative residence at Théâtre Les Tanneurs and accompanied by Grand Studio.