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"death is everywhere, just breathe yourself into it." 

Jared Gradinger and Angela Schubot’s work focuses on the ‘debordering’ of the body. Their starting point is the dissolution of the self. How can one stop ‘I-ing’? And in their attempt to do so, how far beyond intimacy does it bring them and what new forms of co-existence will emerge. With “Les Petites Morts – i hope you die soon” Gradinger and Schubot bring this aspect to another level and raise the paradoxical question of how two individuals can die together on stage. This paradox is used as the starting point to develop a movement language that aims at the disappearance of one’s own body whilst still remaining on the stage. Is it possible to overcome the solitude of death through unconditional togetherness? Can we transform the fear of dying into acceptance or even into something that longs to die? “i hope you die soon” is the first part of the project “Les Petites Morts”.
we tried to find a vibration that is bigger than the visual and the actuality of the body. we tried melting outwards and leaving the body behind. we tried to be neither here nor there we tried to be sequential and simultaneously at the same time.???? we tried to touch the infinite. we tried to release identification with the body, mind and soul. we tried to meet death. we failed and failed and failed ...
Angela Schubot and Jared Gradinger

Choreography/Performance: Jared Gradinger & Angela Schubot 
Music: Tian Rotteveel 
Lighting design: Andreas Harder 
Artistic collaboration: Sigal Zouk 
Costume: Heidi Lunaire 
Press & production: björn & björn

Production: Angela Schubot / Jared Gradinger. Co-production: HAU Hebbel am Ufer, Südpol Luzern, Les Grandes Traversées and the Ballet de l’Opera national du Rhin – Centre chorégraphique national. Made possible by funding from the Capital Cultural Fund.

(...) For "I hope you die soon" the two dancers have now pushed the dissolution of the border even further. (...) "I hope you die soon" is a constructed piece in the course of which the two performers breathe into each other's wide open mouths, come to a halt, support each other. But it is not a piece that runs towards anything or condenses into anything, it simply shows an enraptured state. It lives from nothing other than the radicalism with which Schubot & Gradinger enter into their states of being produced in whatever way. "Death is transformation," they say, "and we want to show something of it." In "What they are instead of" and "is maybe", the two previous works, they have already experimented with this, but it was still a warm-up. Now they have actually landed somewhere in the afterlife. So extreme is the tension that the two mediators are capable of, that you think you hear a pin drop in the hammer, although nothing happens on stage in the conventional sense. Only silence and motionlessness. The loud noise, with which Schubot and Gradinger later pant into their wide open mouths, no longer seems of this world. Not like a breath that still has to supply a body with oxygen.
22.1.2013, Michaela Schlagenwerth, Berliner Zeitung

(...) What played a big role was the breath, especially the shared breath, (...) which one could also interpret spiritually: as the breath of life, the flow of breathing, as the will to survive or fight, or even as a breath of death or rattle, all associations are possible. (...) I saw in the two of them here more like two creaturely existences, which, far from any consciousness, any individuality or rationality, concentrate entirely on the physical functions of the body, i.e. movement and breath; which are no longer the knowledge of man or woman, where only life-supporting functions are concerned. (...) It is more a piece about closeness and in this closeness the then the subject of dying is brought back in as a resistance against dying, against one's own dissolution.
Elisabeth Nehring , Germany Radio Culture, 24.01.2013

LPM3 dieter hartwig .jpg
Photo by Dieter Hartwig 
Photo by Dieter Hartwig 
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