CATHERINE WOOD Your dances seem, alternately, like very private passages of thought and deliberately brash “showtime.” What is relationship between your “inside” and “outside” when it comes to inventing and performing dance?
ALEXANDRA BACHZETSIS I am interested in a duality in dance: the mystery of human expression on one side and controlled material organized by routines and rules on the other. This can be compared to the difference between articulated verbal and physical languages that constitute the presence of an individual. It’s the search for these constituent elements of personality that drives me to make work. I guess I need to be irritated in order to create, and I want to reflect this irritation towards the audience through my stage performance. I often stage a setup of contradiction—in style, aesthetics or theory, even between my “inside” and “outside”—in order to question and reconfigure hermetic approaches to any given reality.
CW What role does daily practice have for you?
AB As a dancer I’m probably a very undisciplined person, but as an artist I am not. I try to keep to a Iyengar yoga training for about three hours every Thursday. Then I practice awareness as a daily exercise in different situations. During longer working periods, physical exercises are a part of my daily routine, because I strongly feel that the work can only become something physical if one engages physically with it. The body doesn’t necessarily move just by thinking about it. I am not moved by the mere analysis of choreographic concepts or thinking about dance. I do think daily training has a big influence on what resonates from the body into the work, and it helps to configure choreographic ideas through the presence of the performers. It is about formulating the language that one speaks among people on stage.