Archaia Futurae: A Picture of Contemporary Times
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In July 2021, I had the opportunity to attend Aleksandar Isailovic’s performance ‘Archaia Futurae’ in Theatre Deli located in the heart of London. The performance was a part of ‘Pandemic in the City’ festival, organised by Theatre Deli and Dark Yellow Dot.
‘Archaia Futurae’ starts in the lobby of the theatre where audiences did not know what to expect. At the beginning, the piece proposes no borders between audience and performers, and it starts with an interaction where dancers guide the audience through a small trip where body movement appears in relation with the architecture and people. In the first part, there are three characters, each creating a different and original perspective, addressing issues of post-gender and post-humanism.
The last character guides the audience into a black box where strong and defined images are developed by two dancers until the third one appears on the scene. Inside the black box, the dynamic changes, the division among stage and audience becomes clear. Images are projected into the stage creating poignant moments along the piece where human bodies interact among shadows.
There is accentuation and concentration of movement through the appendicular skeleton, and the ideas about touching, reaching, or holding are easily assimilated by the audience. The music plays an important role in accentuating some images and creating an atmosphere based on the performers and their actions. When the third dancer appears on the stage, there is a transformation of the piece. She comes to boost the physical interaction among the three dancers besides increasing the temporal rhythm. The third character appears to be the one in control of the situation and the one that subjected the other characters. With the use of fluorescent colours in their bodies, dancers came into a metamorphosis with articulation in the whole body and continuous physical interaction.
In a crescendo ending to the piece, where the bodies seem to leave the human and individual structure behind, bodies on the stage became a sort of animalistic creature. In this last part, face gestures in the dancers where relevant as part of the symbiosis that could be perceived on the stage.
The piece lasted about 30 minutes, and during this period and after, the audience reacted in different ways. Some of them laughed, paused in contemplation, interchanged gestures with performers or went into moments of confusion or grieved.
The piece erases questions about the way in which social interactions happen. It explores how we have changed expressing emotions with others. Specifically at this moment in history, where touching and interaction with others, in ways that recently were considered normal or appropriate, now imply a life risk. The piece also brings a reflexion about our future as individuals and as a community.