If everything flows, to die in my own footsteps is possible in every, but very present moment, which means that I could stop anytime. Even if I take one step back or I get to the point again where once I was before, is not the same, it can't be the same, because nothing stays. But, the topic in this case is not a philosophical question-of-time problem, but a social one in which it is impossible to be or to die alone. Why? Though it is interesting that notwithstanding, the performance proposes a superficial answer by putting this micro-social aporia in a time based structure, the root itself stays undiscovered. And here comes the gap.
Lucky I am that I had the chance to see this performance two times in two very different venues (in the intimate Studio Alta, Prague and in the enormous DEPO2015, Plzen), once without the guitarist-composer Gasper Piano and once with his suggestive attendance. On the white floor of the stage the four dancers (Martina Hajdyla Lacová, Soňa Ferienčíková, Karolína Hejnová, Benjamin Pohlig) are waiting. First, we can only hear them breathing as they meet and what is more, collide with each other in the space, like atoms – just to separate after as it is in a nuclear fission.
The experimental, but melodic music is getting more and more audible, parallel with the increasing physicality of group dynamics. But after several abortive attempts to connect, predictably a stage comes which could be described as harmonious, when the four bodies unite in one with sixteen limbs, stepping simultaneously just to sit down together after and have a rest. This is the climax point of the music, the noisiest when the others on the stage are vegetating exhausted. Just like after winter comes the spring, the group rebounds and gets vivid and vital again, and after a while something of a liar, like an artificial flower on a meadow. At first, I can't decide if there is a reason to behave like this – I could accept it – but step by step I am sure that this should be the land of covenant, but unfortunately it is only conative.
They went through all the possible situations four people can produce and the construction built from the different exercises is logical and consequent, but on the whole, too long to put it on the stage as it would come in a rehearsal place – I imagine. The constant state of research and presence they are in, is obvious, but I miss the self/selves-reflection which could answer the main question, why somebody would want to be and then/or die alone? Only representing/reproducing – all too well I must say – the alone-or-together fever is a question of aesthetics, but if you look under the surface, it can become easily something of a multitudinous murmur. Without touching the bottom, for me, it stays a well-developed exercise – from which you should gain a quintessence you will use in the next moment in order to step on – it: your own footstep.