Could you elaborate a bit on how your work evolves from concept to the floor?
In my case it comes from a lot of improvisation on different elements of the concept. It is a sort of process of placing the concept at the back of my mind and then finding a way to be available for what it can bring to me.

It is very important for me to take time for research. I am not interested in working with movements that I have learned from somewhere else, unless they serve as a metaphor or a reference in a moment. But I am interested in building a new “language” of movement. Something that only belongs to that specific work and is existing only through and because of the concept that I am working with at the moment. It takes time, but once I find something it is really clear and worth all the effort. I also believe that this way I can find a communication through movements which reaches further than being about an aesthetic or a style of dancing. I search a way of exploring different layers and meanings of the same movement. But to be able to do this it is important to extract to something simple, because there exists complexity within the simplicity

How crystalized does your concept have to be before you start working on the floor?
I would say it is a general direction that I have made as concrete as possible with words before starting. It is important to still leave the space and availability within this idea for the actual creation. I had been wanting to make a piece relating to nature and our use/extraction of it for a while. When I met Noémie Goudal, who created the scenography in collaboration with 88888, it really started living in my mind as something that I needed to create. I got inspired by her series Les Amants, from which the piece has its title.

I was as well inspired by Icelandic writer Andri Snær Magnason and during my process I had a couple of talks with Flemish philosopher Ludo Abicht. Then I also work with a wonderful dramaturg Sara Vanderieck, that is a great person to reflect my ideas with during the process. And of course, just watching the news, speaking with the people I meet and so on, is an inspiration as well.

Can you tell me a bit about your future projects? What are you busy working on or thinking about at the moment?
At this moment I am doing a movement research with a few dancers in Iran. I’m searching ways of transmitting my methods of working and seeing where that might lead. I’m also working on a creation in Norway as a dancer for Norwegian choreographer Janne-Camilla Lyster. There are diverse research projects in the pipelines. It is so important for me to give myself the time for that before making a new project. I will do a research with a Norwegian Trumpet player Eivind Lønning on sound and silence. I will do a research with French photographer Aëla Labbé and I will as well make a film that is inspired by The Lover. I guess that by writing this I’m realising how important it is for me to fuse different disciples. I guess it comes naturally without really thinking of it as such.

For more information on Bára Sigfúsdóttir visit her website at www.barasigfusdottir.wordpress.com & www.ccproductions.be