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maa 02/02/2015 > vri 13/02/2015

Inga Huld Hákonardóttir & Rósa Ómarsdóttir - Carries cry

"Carries cry is an exploration of the ambiguous relationships between movement and sound, specifically operating and defining the boarders of horror and humor. Bordering between a concert and a dance performance, a dialogue of sound and image is opened. Through fascinations of the ’doubled image’ of foley art; the artist in production versus the representation of the sound and the supported image, the piece explores multiplicity of meanings, matching the obvious and the simple with the complex and obscure.
 
Carrie’s Cry is an independent continuation of the performance Wilhelm Scream which we made in 2013. There we explored the relationship between movements and sound through foley art, focusing on the ambiguous relationships which occur in a more ’out of sync’ relations. During our touring of Wilhelm Scream we had many responses and feedbacks saying they found it either creepy or funny. We find it interesting that these ambiguous scenes that seem to not quite ’fit’ can create these notions of humor and horror which we want to explore further.

Carrie’s Cry digs deeper into the same themes and notions as Wilhelm Scream. It is a further exploration of the ambiguous relationships between movement and sound, specifically operating and defining the borders of horror and humor. Bordering between a concert and a dance performance, a dialogue of sound and image is opened. What makes the hairs rise on the skin? What causes laughter? Is there a common factor in ambiguity that can create these feelings?
Ambiguity can arise when two known factors come together and create a new whole, which seems both familiar and unknown at the same time. The Uncanny Valley is another theory which explains that relationship. It is a hypothesis in the field of human aesthetics which holds that when human features look and move almost, but not exactly, like natural human beings, it causes a response of revulsion among human observers. Examples can be found in the fields of robotics and 3D computer animations among others.
 
Carries Cry strives to create ambiguous conditions where these aspects come together in a new way. Sometimes the progression of sound, movement, and scenography support each other, but what happens when the sound or the scenography takes it’s own direction? As if a woman walks across the stage and stops, but the sound of her footsteps can still be heard. Or if a shadow of a person stops moving, although the person continues to move. The whole remains unclear, as if one is stuck in between two different scenes at once, in an ambiguous world where things are not all what they seem.
 
Credits:
Choreography and Performance: Inga Huld Hákonardóttir & Rósa Ómarsdóttir
Music: Sveinbjörn Thorarensen
Scenography: Ragna Þórunn Ragnarsdóttir
Light Design: Arnar Ingavarsson
With the support of: wpZimmer, workspacebrussels and Reykjavík Dancefestival.