I think that choreography for me is the natural laws that apply to this universe. Let’s say that, we are all in a train or in a bus. Within the group someone can read, someone is standing, someone is observing out of the window. But we all react to a sudden break of the train or to a sudden, sharp turn. So for me, this bigger movement of the world around the system is choreography. What I’m asking my dancers is that they constantly execute the choreography, but they have to hide it so much inside the core of their body, as if it’s a small vibration that actually unites them all. On the surface, on their limbs and in their articulation, everybody is free to interpret and to bring their own flavour and their own version of the choreography. In dance theatre we talk so much about the control of the body, and I think we neglect the opposite. We neglect the way that we can permit our body to be, to just let it be. My tendency is to say that it’s better to let go and things will eventually flourish. We don’t need to control it, but we need to understand it and let it go. Extract from a video interview with Christos Papadopoulos for The Rose International Dance Prize 2025, with thanks to Sadler’s Wells Digital Stage.
discover an unknown territory, an unknown space is the same way I should discover the unknown territory that is the body. This is the main idea behind Larsen C . In the rehearsals, working with my dancers, I found myself talking to them again and again about ice and icebergs. We considered the idea that when we see an iceberg, we always think that it’s a solid form of ice, that it’s still and without any kind of transformation. But if we give it time and, let’s say that we go in a time lapse, we will actually see that this solid form, it keeps on transforming and changing. That’s how I ended up with this title, with Larsen C , because the ice itself has been a tool for us.
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