Performance inspired in the character
LOLITA de Valdimir Nabokov.
Lo.li.ta is at the same time signifier and signification. Sonority with a great capacity of offering images: innocence, objectual beauty and degradation.
Books do not want to be commented. They want to be read. Lolita is written with three painful syllables. Lolita, diminutive of Dolores, is pronounced with a painful sensuality, and is closed energetically and occlusively. A phoneme is a mental image of a sound, and phonemes, like sounds, lack meaning. The famous phonetic syllabification “lo.li.ta” is also a perfect mental image of an incommensurable book. We do not aim to travel so far. It would be daring to venture doing that with a monumental book.
But Lo-li-ta pursues me. I listen to that sonority and some mental images appear immediately. From the Company, we pursue similar things: images and sonorities. Because, after all, what is dance? : Musicality or the body? Sincerely, I feel how sonority and image in the end always go hand in hand. Within the aesthetic set of ideas that seduces me, dance always contains some part which is a sculpture, a tridimensional image; and the sonority is its rhythm, the choreography driving these images.
The sound of the three phonemes Lo-Li-Ta offers us a distressing and bitter sensuality. There is an image that prevails upon us with clarity. It is a pleasant image to see. But the sound conditions us, too: the tongue is transformed; it becomes sweet and dense. It touches us there where we did not want to go deeper. It reminds us that there are things we would rather not know.
We did not want to create a piece with a one-way meaning. It is difficult not to take a stance when understanding the final meaning of the proposed actions. But it is very easy to be carried along by the poetic power of images, above all, when beauty prevails.
From the Company we want to remind the audience that they have the right to take a stance: that they can look, unpunished, feel attracted or disgusted, empathize or feel shame. The audience decides, and grants in the end the true meaning of the things watched. We, creators, reserved and absent, just offer the image, and for that we have chosen a performer that connotes, in appropriate doses, innocence and fragility.
Lo.Li.Ta is a simple and hard-hitting
performance in three scenes.
A poem in three strophes.