Biti koreograf, po mom mišljenju, predstavlja savršen balans između slobode i apstrakcije, mogućnost da se govori o različitim savremenim temama Being a choreographer, in my view, represents a perfect balance between freedom and abstraction, a possibility to speak about various contemporary themes
Speaking about his idea of choreog- raphy, he insists on presenting himself in the following way: “I am not a danc- er… I have never tried movements on my own body. I have always been fas- cinated by the playfulness and crea- tivity of other people. For me, being a choreographer is synonymous with be- ing a creator or an artist who seeks to translate our world into images, situa- tions, mise-en-scènes, or movements of contemporary dance,” he says, add- ing: “Contemporary dance is a good channel for me because it is very fluid, completely abstract and defines noth- ing concretely. There is no text, unlike in the theatre, nor other forms of pro- tection or defence. Being a choreogra- pher, in my view, represents a perfect balance between freedom and abstrac- tion, a possibility to speak about var- ious contemporary themes. I believe that, as an artist, I must make compro- mises with my time and try to tell what kind of world, what kind of society we are creating.”
Like Barcelona, which builds its plu- ral identity, his performances bring to the stage a multitude of different voic- es, bodies, and thoughts that ultimate- ly merge into what is essentially the language of a young artist who, if you search his name online, is often de- scribed as “one of the most interesting and important in the world.” “The boundaries separating differ- ent art forms are today fragile and fluid. I am convinced that we must complete- ly transcend them, break them down, in order to bring them closer togeth- er. I use the stage as a battlefield where all these forms of expression can meet. We have already reached the year 2026, and in the past century everything has already been done. Everything has al- ready exploded before our eyes. Today we must try to harvest the legacy of the past and recognise how new crises can also bring new opportunities for differ- ent forms of creation. Expressing all of that exclusively through movement is not enough for me. I like to add words,
light, music, images…” explains Morau. Finally, we ask him about his return to the Belgrade Dance Festival… “Returning to the Belgrade Dance Festival means coming back to a place where the encounter with the audience has always carried real intensity. I am coming in a different role this time. Not as the direct voice of my own compa- ny, but as a guest artist in dialogue with another stage structure – the magnifi- cent Aterballetto. And I appreciate that change, because it sets the ego aside and places the work at the centre. I experience it simultaneously as a return and as a be- ginning. A return because there are mem- ories, the festival, the audience, the ap- plause, what has already been lived; and a beginning because sincere art never re- peats itself; it only succeeds in reshaping itself. Perhaps that is the most beautiful part of returning: realising that the same city and the same people are no longer the same, just as you are no longer the same either. What remains is the desire to be worthy of that change,” concludes Morau.
Dance » Igra | 47
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