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Venue: Freud Museum

Additional information:

£10/£7 Concessions

Friday and Saturday at 19.30

Advance booking essential. Reserve your place HERE. 

The UK premiere of Latifa Laâbissi’s solo dance Écran Somnambule, a reinterpretation of Mary Wigman’s 1926 Witch Dance. Based on the existing 40 second film excerpt of Wigman’s seminal piece, Laâbissi has slowed down the movements to create a 31 minute ‘expression dance’, a sort of somnambulist ritual which, staged alongside Freud’s personal objects, acquires an uncanny quality.

Costume design and concept by Nadia Lauro

Biography 

Mixing genres, reflecting upon and redefining formats, Latifa Laâbissi’s work seeks to bring onstage multiple offstage perspectives; an anthropological landscape in which stories, figures and voices are placed and highlighted. Going against the prevailing abstract aesthetic, she extrapolated a movement vocabulary built from the confusion of genres and social postures, from the beginnings of modernity.

Laâbissi studied at the Cunningham studio in New York and has been invited artist at Musée de la Danse, Centre Chorégraphique National de Rennes et de Bretagne and at Les Laboratoires d'Aubervilliers. She manages the Figure Project association.

In 2001, she created Phasmes, a work haunted by the ghosts of Dore Hoyer, Valeska Gert and Mary Wigman. She then comes back to the German dance of the 20s, with her piece La part du rite with the dance historian Isabelle Launay, and with a lengthened version of Mary Wigman’s Witch Dance, which she called Écran somnambule. The use of voice and face as vehicles for minor states and accents is indivisibly linked to the danced act in Self Portrait Camouflage (2006), Histoire par celui qui la raconte (2008) and Loredreamsong (2010). The most recent creation, Adieu et Merci [Goodbye and thankyou](2013) continues to dig into the unconscious of the dance by constructing a minute choreography of traces and inclinations, creating an infinite recurring reflection.

 

 

 

 

The Visual Arts programme is supported using public funding by the National Lottery through Arts Council England. 

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