The Thing is an automated and hybrid form between performance, workshop and journey. Over 4 episodes, each about 4 hours long, The Thing takes its participants on an exploration of the overlap between things which matter to the world, and a thing each of us could set into motion at any moment. Doing The Thing is about creating the best possible conditions to take a leap of both faith and imagination, daring to enact another possible version of oneself. To decisively step out of one’s comfort zone by, as David Graeber coins it, “insisting on acting as if one is already free.” In The Thing, no charismatic leader stands in your way. The only ones present are a group of artists who open a suitcase and follow a wild mix of different triggers as a guide.
We are gonna play our favourite music. Sometimes we will sing along or dance along or cry along or whatever else. We are gonna talk about our music and about ourselves, our ideas, worries, thoughts and dreams. We are gonna hang out, listen to music together and listen to each other with our audience. The stage will be ours, the words will be ours, we have the power - even though it’s just during the show - it’s our party and we can do whatever we want.
Ásrún Magnúsdóttir was born in Reykjavík in the late eighties. She has a B.A. degree in dance from Icelandic Academy of the Arts. She wants to stretch the dominant modes of dance and has created many works; which have been well received and some have been nominated for interesting awards, even received one, while others have not had a very high profile. She has also travelled quite a lot. At the moment she is interested in working with people that have not thought so much about dance or dancing and trying to make invisible choreographies visible. She has a great experience with working with different groups of people like teenage girls, children, her own neighbors, people living in Warsaw and Reykjavík to name few.
What seems at first to be a normal place, just one of these places, and what seems to be a normal person, just another person, is not always the case. Sometimes there is more. What is the path of our lives? Do certain periods of our lives have their own special path?
Ragnar Ísleifur Bragason is a performer and writer. He studied Theater Making at the Iceland Academy of the Arts and has – amongst other things – been an active member of the theater collective 16 Lovers. Ragnar is also a member of Kriðpleir theater group and has made and performed in all their shows.
Ragnheiður Maísól Sturludóttir is a visual artist and a performer. She graduated from the Visual Art department at the Icelandic Academy of Art and studied in the Commedia School in Copenhagen. Her works are on the border of visual art and theater. She is also a member of the Icelandic Circus and Reykjavík Cabaret.
A sound piece where Kviss búmm Bang takes us on a field trip to lost homes. We get carried away with feelings and chance through scattered memories, untold and forgotten stories.
Hot Bodies (Stand up) is the title of a live performance for Gerald Kurdian, two electronic instruments, a sampler and a vocoder, and the participation of a female choir set up for the occasion. Borrowing to the vocabularies of opera, stand-up comedy, choreography and documentary, its libretto tells in 7 chants and 2 danced interludes, the encounters of an anti-hero called Tarek X on his way through the sexual revolutions of the XXth and XXIst centuries.
A part of the Hot Bodies (Stand up) research is based on interviews Gerald Kurdian leads beside an ensemble of people practicing their sexuality and/or gender as a way to resist, augment or emancipate the very idea of self. In the same movement, he works with a group of women around a significant ensemble of documents witnessing of feminist and queer activism, the collective writing of revolutionnary texts. Unruly and polyphonic, these texts become the score of a choir part performed by the participants during the performance.