LALAI

Based on a traditional song – the word ‘Lalai’ comes from the Persian, which in short is often used in lullabies. In Germany to be completed with ‘La La’. This piece begins with a lullaby – the music was composed by Ali Ostovar and sung by Hani Mojtahedy, the traditional guitar ‘Sehtar’ was played by Shahram Mohammedi. The spirits of fate – Steve Alexandre Pedrosa Cardoso, Gabriel Gaudray Donnio, Harrison Gomes Dos Santos, Pierfrancesco Vicinanza, Tsung-Jui Yang – embark on a difficult journey. Their bodies covered with earth.

Five young dancers use their bodies to explore their limited body language. All have a different language and a different body – different destinies. The same emotions collectively create a so-called collective genius, a group organism, without everything being perfectly tailored. The expression or the pathos is in the foreground. During the process, the performers and the choreographer tried out the movements for the piece through playful tasks. A choreographic intention to move between fast, sudden and slow, drawn out often stood out.

The massive industrial light backdrops contrast in the middle of the room and can be seen as reflecting mirrors, or three coffins. Strong and weak symbols appear again and again, such as the white flag or the famous apple. Lalai is partly tangible and yet intangible, they try to create dialogue through movements, but these are abstract and in expression are misunderstood or interpreted differently.