Press

Kjøpsbetingelser

Dansens Hus Personvernerklæring

Miljøfyrtårn

Articles

Program

Profiles

Tilgjengelighet

Performances

Contact and tickets

The Dance Artists House

About Dansens Hus

Archive performances

Accessibility

Events and venue hire

Photo1 Andrea Spreafico

CAROLINE ECKLY Foto Tale Hendnes 2020 11 copy

Photo2 Andrea Spreafico

International

In collaboration with the well-known Brazilian choreographer Marcelo Evelin, Caroline Eckly welcomes the audience to a ceremonial experience, in which the dancer’s body, as the material and medium, becomes a narrative in itself. Sitting in a circle, the audience looks upon the body as a metaphor for various female figures.
The piece is partly inspired by the myth of Medusa, a woman who was turned into a monster in punishment for having been raped. Her gaze could kill. Eckly and Evelin base their production around this gaze; in the eyes which act as a mirror to reflect the violence of the world, and which also accept and absorb the gaze of others. They call up an image of the oracle: An oracle which transmits, invokes, which takes the place of God or the Word, which opens doors that have been closed, which possesses ancient and occult forces.
The French Caroline Eckly has been working as a dancer in Carte Blanche for the last 12 years, and in her 23-year career, has collaborated with many of the world’s leading choreographers. 
The Brazilian Marcelo Evelin, with his strong relation to the culture of the the indigenous population of the Amazon, has worked as a choreographer across much of the world, not only as a dance artist, but also with physical theatre, music, installation, video and site-specific productions. The collaboration between Eckly and Evelin started when Evelin created the production The Who of Things for Carte Blanche in 2016.
- Your continent is dark. Dark is dangerous. You can’t see anything in the dark, you’re afraid. Don’t move, you might fall. Most of all, don’t go into the forest. And so we have internalised this horror of the dark. They had no eyes with which to see. They did not explore their own house. Their gender still scares them. Their body was colonised, and they dared not come. Women are afraid and feel a loathing of women... We were trapped between two terrible myths: Between Medusa and the abyss. Half the world would be laughing hysterically, except that this is still going on. Hélène Cixous, The laugh of the Medusa

and yes I said yes I will yes

Kvinnen som metafor