Jeg graver (I am digging)
Photos: André Wulf
Jeg graver (I am digging), in the earth, in history, in myself.
Trying to find answers. Listening, sensing, carrying, – trying to understand who you are. How to dialog, to share this time and be together.
Feeling your weight, holding you. I get a deeper sense of myself relating to you. I can feel your support, your consistence and realness.
How can ‘doing’ so little give such a deep imprint. The clay reminds me to take my time. To listen and to slow down. Being in the moment.”
The clay that is part of this performance was dug out from the ground, at Talberg Nedre Farm in Sarpsborg, Norway.
The work that André Wulf and I did to reach the clay and to carry it out of the ground, transport it over the fields, driving it to school, the Norwegian
Theater Academy in Fredrikstad, did initiate my relationship and choreographic work with the clay. This work influenced
my understanding and approach when I continued my research with the clay indoors. The weight, the heaviness and the
time that it took to dig and transport the clay affected deeply how I was working and relating to time.
I wanted to get to know the clay by reserching how to develop a relationship to it, allowing myself to be affected by it and see
where that would guide me in the artistic process. I was curious about how the clay could affect how I move, how I breath, feel
and think. And, how its presence and matter would affect the dramaturgical choices and how I would work in relation to time
and space. I was curious to learn about the clay’s performativity and agency and I was wondering how I could facilitate and
support that in a performance. I did not want to manipulate the clay or shape it into an object or make it into something that I
projected from my own desires. I was interested in how the clay could “perform in itself”, with its natural textures and shapes,
in relation to my body, as an equal performer within a performance.
I am holding, touching, carrying the clay in different ways. Smelling and listening to its sound. The different types of clay requires
that I hold and carrie it differently and this affectes how I move and which movements that is possible to do, without shaping
the clay too much.
This work is part of my MA research at the Norwegian Theater Academy, Østfold University Collage, MA in Performance 2018-2020