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I am the afterparty Siren Lauvdal Hege Haagenrud 1

Hege Haagenrud about the background of Do Not Stand Too Close: Sam Harris who runs the podcast Making Sence talked about a thought excperiment that I aim to transfer into this performance: Imagine a politician that you respect greatly. After reading an interview with this politician you learn that in reality the interview is with a politician with whom you have very few shared values. How open are you towards the ideas presented when you like and respect the person who promote them? How will your impression of the content of the text alter when you know who is actually behind it? I will try to interpret the world with this as a point of entrance. Not edentulously, but with an understanding of the fact that the truth of others might be as great a truth for them as my truth is for me. The title is derived form a letter of information written to diplomats working in th UK: “ Do not stand to close to a brit” is one of the advises given. The reason being that the introvert and reserved brits are not comfortable with other people standing to close to them. The brits are otherwise known to be one of the more aggressive peoples of Europe. I want to take a closer look on this duality in Do Not Stand To Close, bye a restrained, artistic form, and costumes that put limitations on the possibilities of moving. This in contrast to an unrestrained way of speaking. 
Can classical ballet be revitalized? The classical "language" was developed in a time when the audience was familiar with the way the storytelling was conducted, and thus were able to interpret what they saw. 
In the last few years I have developed a gesturally based artistic language, and my aim is to develop and carry on the tradition of storytelling, and reshape it to be a tool for telling stories that is relevant for contemporary people.

Do Not Stand Too Close