Anne Imhof

So it was Roman Juliet told in reverse, played out in different scenes, and then was repeated as like almost a play in the play in the ballet that was the first act of the piece.

So I really went into that story of Romeo and Juliet and rather abstract, told a story from their death towards the moment they fall in love with each other to give a more hopeful ending.

But when you see it throughout my work, I think I was...

known for notoriously working abstract and plotless.

And I think it was because for me, it was about something else that I had to claim moving period.

So it was like about working in the ephemeral per se, or it was almost like stating the fact that even if I don't

move much.

And even if I resist performance, this is a performance.

And I almost had to go through all that pain and suffering of like making a piece where the music and the movement is like separate from each other, where the whole piece repeats itself as soon as it ended.

That was like the School of the Seven Bells.

It was my graduation piece.

I just started it right when it ended at the beginning.

and thought of the, okay, this could be frustrating, this could be relieving, but I wanted to prove that no movement, even if it's choreographed exactly, because this piece was choreographed pretty exact, like, it can't be the same when it happens again.

Like, there were all of these things that I thought about that I had to somehow go through, sometimes rather painfully, also because nobody was, like, very entertained or, like, people left.

Yeah.

And this is why it was kind of interesting to me that I now step out of the museum context and go into a different, like going on stage, like, or the next piece I'm going to do will be a piece that's simultaneously a stage piece and a warehouse piece because it will tour, which is like completely new to me.

But I went a long way from where I started until now.

And somehow...

It's interesting that you pointed out that there is a narrative and it came from like almost my thinking about movement as a complete standstill until where I'm now moving a lot, moving a lot to music, falling in love with this rigid form that classical ballet is like.

And of course, I have been seeing a lot of different works throughout the years.