Near Miss - The Happy Living Trilogy #3

Trio for the three women and three remote-controlled collaborators (2012)

Near Miss is a term that originated in the aerospace industry to describe near collisions with satellites and/or other objects in the universe. On the stage, Viviana Escalé, Mu-Yi Kuo and Marcela Ruiz Quintero display a futuristic version of cohabitation. Beings that are neither human nor machine, in a space that is no longer definable, detached, inhabit the planet, portrayed through their collaborators, remote-controlled machines. What form do relationships take when feelings perish and die? What does coexistence, individuality signify? Will we mutate into monsters or magnets?


Concept/Direction: Stephanie Thiersch
Choreography: Stephanie Thiersch in collaboration with Juan Kruz Diaz de Garaio Esnaola *
Dance/Choreograpy*: Viviana Escalé, Mu-Yi Kuo, Marcela Ruiz Quintero
Stage: Martin Rottenkolber
Sound: Joseph Suchy
Soundmix: Lyoudmila Milanova
Costumes: Sabine Schneider
Technical Direction/Light Design: Julia Franken
Dramaturgical Assistance: Eleonora Zdebiak
Photography: Tom Trambow, Martin Rottenkolber


MOUVOIR in Co-production with freihandelszone ensemblenetzwerk köln, tanzhaus nrw Düsseldorf
funded by: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes NRW, Kulturamt der Stadt Köln, Kunststiftung NRW, RheinEnergie Stiftung und SK Stiftung Kultur


Seemingly weightlessly, the trio is swept across a futuristic stage uniquely lit by remote-controlled cars. The three bodies come across as surreal installations when they repeatedly reconnect as if drawn to each other by magnetic pull. The long, scraggy hair falling into their faces is a bizarre sight but evokes an image of an Indian deity with three heads and six arms, barking like dogs.”
(Deutsche Bühne)

Together and apart: The dancers Viviana Escalé, Mu-Yi Kuo and Marcela Ruiz Quintero are in the throes of inventing how to pray in the future, (…) hybrids, spiritual montages. They isolate areas of the body from one another: a rigid upper body, quick-footed below. Stiff legs, blissful elevation of the upper core. Artificial, disharmonious, as if fitted with spare parts. Or too perfect. Just like bodies might well be combined with machines in the future.
(Extract from the article “glücklich leben” (Living Happy) in tanz, Zeitschrift für Ballett, Tanz und Performance)