i don’t like contemporary dance




(photos by Ciprian Gheorghe)

Today I don’t like contemporary dance because:
– this art form is living in a too small closed circle and doesn’t reach a larger audience (the audience is usually artists, friends of artists, family and boyfriends/girlfriends/husbands etc)
– artists are too crazy;
– concepts are too complicated and most of the works are superficials;
– artists doesn’t think to much to the audience;
– sometimes, nothing is something, instead of being just nothing;
– it is a too fragile art form.

change of identities

Today we started a new swap of identities. Giselda become Cristian, Cristian moved in Tanja’s body and Tanja discovered Giselda. A hard and difficult process of finding our fragilities….




“In the last 24h I achieved to:
– roll several bad cigarettes
– finally buy the soap I wanted to buy at the pharmacy
– try my emotional solo in a new way at Cristians flat
– forget how to speak in my own language, but speak quite well norwegian
– get a compliment on my romanian pronunciation from a taxi driver
– take the metro in Bucharest
– remember that I can dance as a gypsy bride
– keep over 50% of my dancing even in the new body
– remember to put on my perfume
– get rid of the rash on my chest
It was a good day.


this hours was very uncomfortable and painful to be. My boots was harding me a lot, and my body was in conflict with my mind and the opposite, did no know exactly where to put the thinks.
realising that i don’t have so much information about me or I forgot them, I started to watch norwegian movies for the language and tried to look again for my movement quality.
I felt like I started to loose my identity and I can´t connect with myself so good like the other days.
I was trying to flirt again with cristian as usual but i decided not to remain at his place after, where we had a very good diner all together. I was no more then 20% of myself because of the cristian influences.

trying to redo my solo was a hard job for me today but in the and i had the feeling that i was there.
I made a lot of pictures and I play with the lights at cristian´s flat. I have one more task to do.
the taxi driver said that the people in rusia have a better life then in romania
i was really faling in love with cristian today. i am glad that I had the change to go with the metro to cristian´s place, where it is so nice, cosy and we spend time discussing about contemporary dance, playing with the lights and watching giselda´s solo.
It was a good day,


Two days ago, on my last day of my 6 weeks trip in Japan, I visited Christian Boltanski’s archive in Teshima island (Japan), “the island where hearts from over the world gather”. I was the 15744 visitor who recorded and added his heart beats to his special exhibition “Les Archives du Cour”. I spent some time in his exhibition, listening to my own heart and others hearts while looking to the beautiful view of the window.




And I start reading his exhibition notes in the special box which I received together with by heart beat recording.

“Les Archives du Couer”
Here, people are immersed in a variety of thoughts.
The transience, fragility, value of human life –
The desire to leave something behind and the idea that nothing will remain.

“Living a good life” doesn’t mean to remain fixed on youth nor does it mean to attempt to live a longer life.

It means to accept the natural cycle that begins with birth and ends with death.
There are people who lived before us and people who will be born after us. What’s important is the spirit of transmission.

People only come back to life in other people’s memories.”

While listening and reading, I start thinking to our project about fragility. For sure, the soundtrack of our performance will have some beats on it.

[Fragile] is entering soon on the final stage of development. Stay tuned for a very special experience.

Dear Tanja,
Dear Giselda,
Dear Cristian,

Hope you are well enjoying the summer. First of all, Tanya, I’m happy that you can join us for the final phase of the “Fragile” project in Bucharest. The two weeks in Riga were intensive and unfortunately Natalia, the third performer who was selected following the workshop in Riga, was not strong enough to deal with artistic proposal. Therefore I decided to stop the collaboration with her after the two weeks research in Riga. It’s a very unfortunate situation but I’m very confident that Tanja will catch up very fast and will make a very nice team with Giselda and Cristian.

Please find bellow the short summary of the artistic process. I’m gonna try to make a selection of photo and videos and send it to everybody via wetransfer this week. Tanja, I would like to propose you a Skype meeting starting with Wednesday to talk you more in details ad the project and its needs. Please let me know what time you prefer, either during the day or night.

Here a short summary of the our first residence in Riga:
a) format of the final performance
– ideally in my mind the performance would start in a private secret location (basically in people’s apartments/houses or a gallery/ZonaD studio) develop a bit into the city and end up on the black box. in Riga we tried a version that included – performative actions in the private flat, a running & dancing section in the city followed by a final performance in the black box. the total duration of the whole experience in Riga was about 3 hours but from my side didn’t work well. We need more time in the flat to build up a relationship with the audience, so at least the duration of the performance in the secret location should be 2 hours, which will go finally to a -6 hours experience which is maybe too much :). on the first week in Bucharest in October we gonna try a version to split the performances in the two spaces in two as follows:
– 2 hours performance in the flat ending up with 30 minutes running & dancing in the city
– 30 – 45 minutes running & dancing in the city ending up with a 60-90 minute on the black box with audience on the stage
Depending in how it will work we gonna decide what would be the final version. In Bucharest we have the stage booked for November 8 and 9 and we will have a trial version of the performance in the flat scheduled for November 1.

b) sections & ideas to be tried & developed:
– Dance like you’ll never do again (individual solo and a trio group version)
– Smelling Cristian solo (with tenderness quality), Transparency Giselda (with male side) solo
– Tanya’ solo (poliical & sexual identity, maybe ???)
– Kiss & Heart Solos/Group
– Emotional trip (performed by you with/for the audience)
– Life percent (Cristian performed 60 % of Giselda’s quality of movement)
– GAME (spin the botle /spin the body, other social games that can be used)
– Change of identity & cloths (between the performers and the audience)

c) Re-visiting master piece and Re-Enactments
This is soo contemporary – by Tihno Segal’s work read more here http://www.theguardian.com/artanddesign/australia-culture-blog/2014/feb/06/tino-sehgal-this-is-so-contemporary-review -transformed in THIS IS MY MASTERPIECE
First Kiss (https://vimeo.com/88671403) > ?
Rythm O by Marina Abramovic (https://www.youtube.com/watch?v=BwPTKmFcYAQ) or MANIFESTO (https://www.youtube.com/watch?v=LsPx9sLcbeI) ?

d) Questions, yet to be answered:
– How to get into people’s fragility and how to show/share their/own fragility on stage
– What is the Wild Giselda/Cristian/Tanya
– How to hijack the audience (and the performance)
– What you can still from the audience (maybe a smile, a kiss, a private conversation, a personal touch etc)
– How to dare more and push the limits (ours/audience) –
– What are the strategies to approach and engage the audiene (eye looking gaze, smelling, hugging, whispering at the hear….

This is in short something we work on Riga, tried or just discussed.
Giselda and Cristian, in case I forgot something from my diary, please add them to the conversation.
Based on the very good experience of the workshop in Riga, I’m gonna lead a new workshop (longer) in Bucharest during our final phase. I’m thinking to involve also the participants in the workshop in the running & dancing sections and in the black box performance…Maybe they can also learn the emotional trip exercice and do it with the audience, so more groups will work in the same time.

Tanja, please find attached a document regarding the speach by Jaques Ranciere called “the Emancipated Spectator”, which I kindly ask you to read as a preparation for the project.

As a home work for everybody 🙂 until we meet again in October, I would like to ask everybody to re-read the Alice in the Wonderland by Carol Lewis and see the movie made by Tim Burton based on this book (https://www.youtube.com/watch?v=_TfanDv5iRk). I would like to ask everyone to choose a character from this book, obviously Alice will be the audience.

As a task for everybody, please buy one piece of cloths (can be a dress, underwear, wig, socks, tshirt, material) for yourself and one for somebody else. Please keep the receipt and you will be reimbursed in Bucharest (maximum 100 Euro/person). Myself I will buy some staff from Japan, so please send me your size.

Finally, Tanya let’s chat more this week. And don’t forget to plan your arrival in Bucharest on October 12 and the departure on November 10. Please, let us know from where you will be travelling (Hammerfest, Oslo, Russia) so we can start to look on the plane ticket.
Thank you all.

Wish you all a lovely summer,

bye, bye Riga ! see you in October

After two very intensive weeks, today I our last day. Everybody is very tired especially because of the final presentations.
Some questions to be answered today:
1. What was the strongest moment/experience in Riga (flat, street, studio)
2. What to take further in the working residence in October in Bucharest
3. Positive and negative aspects of the residence
4. Is the [Fragile] team ready to move on the next phase.
5. What kind of performance will be [Fragile]
We met in the afternoon in the the dance studio and we start our day of evaluation and reflections.

Unfortunately, Natalia will need to leave the team, I feel she is not ready for this project.

Our last hour, I go together with Giselda and Cristian to the lovely tea-spot in the garden of Riga. We speak and brainstorm about possibilities. Questions still…
How to dare more
How to push our/audience limits
How to get into people’s fragility and stories
What is the wild Cristian and Giselda
How to hijack the performance
What is our fragility
Who’s gonne me the third performer in the piece

Final photo in Riga. Bye bye Riga, we had a very rich time.
diary notes Riga

Giselda, Cristian and Cosmin

something to remember

Following the informal presentations in Riga, I received an email from Martin, a friendly guy who was a discreet audience our our dancing & walking improvisations into the street of Riga. he also showed up for the final sharing presentation and seems to me that it was his first contact with contemporary dance. when I asked during the performance what he things about what he is seeing, he said that doesn’t understand much but he liked very much, especially the naked moment 🙂 In the thankfully email were attached also more 30 amazing photos of Riga in different seasons, see bellow some of them.

“Dear Cosmin,

Thank’s for the presentation today, I really enjoyed it. Here’s a little something to remember Riga. Hope you get home well.

Best wishes, Martin Ligotnis”

Thank you Martin for your email and photos, it so nice to know that the performance touched your heart !

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July 10

Today I’m Natalia and I have two tasks. Climb the stairs in the living room in different ways and sing the Polish anthems. And make a travelling map.

First, I’m kissing on a body scar. Than I’m entering in Natalia’s room and I found the book of Nietzche from the Chomsky’s bar. I start reading it…

“Saying yes to life even on its strangest and most painful episodes, the will of life rejoining in its own in exhausting vitality even as it witness the destruction of its greatest heroes – that’s why I called Dionisyan, that’s what I guessed to be the bridge to the psychology of the tragic poet” (Nietzche – The twilight of Idols)

Shortly we start to work. I decide to play the crazy Natalia, compusilve with lots of sexual desire. I remember her saying “I Can Manage Everything”. I can be Natalia. Funny enough the Natalia Cosmin is leading the rehearsal today.
I WAS 40 % Cosmin while I was performing and 60 % Natalia.

After the rehearsals I dress-up as Natalia for the dinner.
And after the dinner, shortly I come back alone, I fall asleep in her sofa (without even not opening it) while thinking to the day…I supposed it’s hard to be Natalia.

I wake-up in the morning and I found my shoes at the entrance of the room. I don’t understand whom I am Natalia or Cosmin ? I realised that today we need to run together today before changing back to our identity. And than shout out being naked for minute our passed identity. I start hearing in the others room Cristian and Giselda screaming. I start screaming NATALIAAAAAAAAAAA…I’m also documenting the scream. End of identity.


today I’m Giselda

July 8/2014

First change of identity today. Full swap between us with costume, laptops, rooms. And few rules: who is taking the identity of Cosmin need to led the daily rehearsal as well as to answer to the professional emails received in his laptop . Who’s gonna be Giselda need to take care of the calories and need to do an emotional check-up before going to sleep.Who is gone be Cristian need to do joggining in the morning, who’s gonna be Natalia need to sing the Polish anthems…And than we choose. Cosmin is Giselda, Cristian is Cosmin, Natalia is Cristian, Giselda is Natalia.

Today I’m Giselda. I’m naked on the floor with the notebook. My heart is beating up very strong, what a crazy idea to work on. I’m thinking of the heart installation of Christian Boltanski in Japan (http://www.benesse-artsite.jp/en/boltanski/index.html).But I’m not sure that is Giselda’s thinking…
I love the time of transformation in somebody else. All of of us standing naked next to each other. After a while we enter the new rooms who will be our home for the next 24 hours. I dressed up in Giselda’s swimming costume, looks we are the same size :). I think that the day will be crazy, what a crazy idea Cosmin had…
For tonight I need to be careful with the dinner, I’m allowed only 1000 calories.

This evening I discovered new things about my new identity. I love Giselda’s eye glasses, the lipstick and the metal necklace. I like my new look. We went our for the dinner in the new identities, people are looking strange to us. We are foreigners for sure…Beautifull view of Riga from the top terrase. I’m reading the menu, finally I decide to take a salad, a beer and some oysters (definitively not very Giselda’s style). Back in the room I’m calculating the calories, it was approximatively 800 calories (110 oysters, 350 the salad, 140 the small beer, 100 olive oil, olives, beetroot, beans). We also had a very difficult discussion, Cosmin’s opens up a discussion about the workshop-audition in Riga. Why did he choose Natalia ?
Before going to sleep I need to do an emotional check-up of the day. Another rule of Giselda’s life. Before falling a sleep, I receive an email from Cosmin.

“Hello everybody,
The ritual for tomorrow: at 10.40 we will let all the things in the rooms and we gonna go naked directly in our real rooms where we goons stay with ourselves until 11.00 when we will meet for the one hour discussion before the other new identity.
Sleep well,

I slept much better in Giselda’s room and body. I just wake up in the first 15 minutes a lots of ideas for today’s rehearsals comes in my mind such as:
– to use the word identity in our game;
– to develop some clear caracthers from the book “Alice in wonderland” – maybe I can work on the Rubbit
– to invite some guests from Riga to experience as with the new identities
– to create short solos to be watched on the phone (like Giselda’s transparent solo)
Before leaving the room I thanks to Giselda.



another week of fragilities. in bucharest


back in Porto after many years. the first (and only time) I visited Porto was in 2005 with the “Serial Paradise” performance. my memories are blurry from that period. I just remember working the whole day in the theatre to setup the performance, a very good show with audience laughing. And a sea food dinner with my dear colleague and wife Gabriela (who was the tour organiser and producer of the Serial Paradise). And a late walking in the city…my first day in Porto started also with a walk into the park of sentiments. very nice feelings….

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the houses in Porto are beautiful as well as pastes de nata, one of the best sweets in the world.

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