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telesnog (kao deo izložbe Feminine/Masculine u centru Pompidu u Parizu), More u The South Bank Centre, Transatlantski, Zlatna nemogućnost, i nedavno Trava. Radio je scenografije i za Alexa Makulu (Uganda), a u jesen 1998. sarađivaće i sa Clare Baker. Jamie Watton (repetitor i plesač) Jamie Watton se školovao u Dance Theatre pri Laban Centre u Londonu, a zatim 1990. diplomirao na Transitions Dance Company. Potom je igrao u velikom broju trupa, uključujud Adventures in Motion Pictures, Yolanda Snaith Theatredance, holandskom Angelika Oei Dance Company i sada sa Javierom De Frutosom. Godine 1993. počeo je saradnju sa Fionom Edwards, sa kojom osniva trupu Edwards and Watton, kreira predstave i ide na turneje. Njegovi noviji radovi sa ovom trupom su i Izlazak, koji je za sezonu Dance for the Camera naručio ВВС/Arts Council, i Kuća uživanja, projekt vezan za konkretan Lokalitet, koji je naručila Greenwich Dance Agency, dobitnik nagrade za ples časopisa "Time Out". Pary Naderi (repetitor) Pary Naderi je rodena u Hejstingsu, u istočnom Saseksu. Godine 1992. diplomirala je na Univerzitetu u Rouhemptonu s najvišim ocenama, a obrazovala se i na London Contemporary Dance School. Član je National Youth Dance Company (1992), gde je radila sa koreografima Leom Anderson, Richardom Alstonom i Peterom Badejom. Pošto je napustila NYDC, sarađivala je sa Henrijem Oguikeom, Colinom Pooleom, Garyijem Lambertom, a več četi ri godine radi sa Charlesom Linehanom. Poslednji put je nastupala sa Javierom De Frutosom u nagradenoj predstavi Trava. THE HYPOCHONDRIAC BIRD After being approached by Expo '9B to do a new work for what is probably the largest cultural exchange in existence, I have to admit that the firs thought that crossed my mind at the end of the meeting was, "I'll be thirty-five years old soon". Now this response may seem flippant of even faintly farcical, but for some unfath-

omable reason the age of thirty-five is quite mythical amongst dancers. I became terribly aware of my physical condition for the event and I guess that subconsciously this was the true starting point of the piece. Most of my work is triggered by some such thought and it signifies the start of the long process that is required for me to produce a show. Of the process most of the pain is in th planning, and particularly in the naming. Thankfully in this case the title. The Hypochondriac Bird, was never a stumbling block. It had a ring to it, some kind of broken voice and an urgency that I found hard to resist. Following this, it becomes the task to put flesh on the bones. It is those that I see surviving, the ones, who do it with an incredible sense of pride as if it is a right, never a privilege that move me. To me death and the overshadowing fear that I associate with it is never far from the Living, some are simply more aware of its presence! Hence, to me it seems natural to feel an association with a title such as The Hypochondriac Bird for it encapsulates my fear and makes it tangible. As most of my work relates to my own knowledge of life and those moments in time which seem to be essential to portray, it is natural that my dread has seeped into every crevice and fissure of its constitution. The dance work should never be just a vivid description of actions it has to be a reaction that barely suppresses its potential. Concidering this, how much information does the artist owe the audience? I think not much before, a Lot during, but it is only after the show is over that those quandaries begin to be answered or for others, discovered for the first time! The most unpredictable factor is that of the answers found, the variations limited only by the number in the audience. Meanwhile the artist must play his part and Leap ahead. As things ripen and settle it is funny to see the elements of the work lining-up, ready to be dealt with. Some of them are unexpected surprises others no more than logical consequences, but within their union lies my truth, unexplainable and dar. It makes you think, no, it makes you feel, as if you have been punched in the stomach, lower maybe, between the navel and the