Anne Imhof

And the space that is given to this performer is key.

And if I choose a person to work with, I already know

that the synergy in between me and that performer is like pretty good and or they are an exceptional addition to a group of people that I chose beforehand.

So there is like a way of like doing auditions that is on the one way.

I choose a performer, but the person has to consent to that too.

So it's almost like a reciprocal choosing.

You know, they choosing me as the artist that they also trust and that they will follow for a bit.

The dance macabre, if you are looking at it from the point of view of being a critique of society in a way, right, that death dances with everybody.

And then why is it a dance?

Why is it kind of this...

dance as the expression for celebrating movement and life and being present and also being with, let's say, death as a creature, but being in a space, so time and space and bodies.

So that's what interests me in every of the mediums I'm working with.

And if you say it's like genre bending or something like this,

It is really about intuitively where it pulls me.

With ballet, it was like a history of like, let's say in the last three years, more and more, it pulled me towards ballet.

And I think it's like kind of, it has always been part of the work.

It always like occurred in the pieces, in small sections, in small sequences.

And because you're talking of muscle memory, I am not familiar with like the science of how muscle memory works.

But as a poetic thought, it is almost like kind of the, if you think the brain is a muscle, all of our brains remember muscle.

things and also store something that becomes a collective thought.