Substantiv, maskulin [der]
Absicht, die das Handeln einer Person beeinflusst, aber nicht offen ausgesprochen wird; verdecktes
From hinter (“behind”) + Gedanke (“thought”).
Intention that influences a persons actions but is not openly pronounced; concealed
"Man is a continuous play of balance between conscious and unconscious. The reaction we have to the other is actually hinting what we are ourselves. Part of you is reacting while behind the scenes you have placed all the moving particles ready for the show that takes place in you conscious mind."
Work in Progress
I choose to put on display the beauty of the psyche’s capability to transform the individual and the collective body. With the Hintergedanke we have already started the process and would like to deepen the discoveries of the physical research under way and grow the material to entail at least two to three more dancers to make the dramaturgic arc complete, thus reaching a fully developed piece.
A concrete happening and human interaction is deconstructed to display how any single small action can contain a multitude of pathways resulting in sanity or madness. The differences between a real experience or a fantasied experience are small when the functions of our consciousness are not understood well enough in individual reality. The choreography sheds light on the thin line we walk everyday in the modern day world which often acts to desensitise the layman. Artists are the ones who are often more sensitive to the topic at hand but the goal is to get more people in touch with their body and mind through creating a lasting impact from seeing physical performance.
I use recorded voice and human sounds (no spoken theatre) to establish a narrative to which’s content or rhythm the choreography plays along and often relates to in an ironic light. The choreography aims to create an effect where the viewer can experience the performance in multiple layers of understanding.
The mental part which is the excuse to explore the phenomena physically is: How do we primally and elementally connect with the other and the unknown. We shape each other, build each other up and choose certain individuals by instinct to connect with. I find this unseen selective connection partly springing out of unconscious, something elemental that we are transformed by and led by instinctually.
I am curious to experiment with mixing an elemental and mechanical soundscape together with an etherial electronic quality. I want the soundscape to deconstruct, morph, ground, burn and liquify the body whilst either battling against or surrendering to the sound to manifest the sound physically on stage in a form of an originator of movement and occurrence, a Creator of sorts. I aim for an arc of breaking up the concrete to put on display its components through the human body and then see the process rebuilt or reshaped on stage by the unseen forces which move us with direct connection to the light and sound.
Sara De Santis
Jean-Paul Sartre - Nausea (Ger. Der Ekel)