Where am I? What can I see? In what physical, fictional, imaginary space am I? For Andrea Božić, the stage is a place to ask such questions; a place in which to look, and to practice.
‘These days, we no longer go to the theatre to see old stories presented in a new way; film and television can do that much more easily. The theatre is a permanent dialogue on liveness.’
(Andrea Božić in conversation with Moos van den Broek TM, October 2008)
Since Božić has worked with Frascati (from 2003, when it was still Gasthuis), this fascination has been the driving force behind her work: she investigates the relationship between presence, intimacy and distance in a space ‘reconfigured’ by media. In Ways to multiply yourself (Gasthuis, 2005), for example, she got different forms of ‘presence’ to influence one another: the real performer – far away on the stage – and the live, detailed, audiovisual recordings of this performer: fragmented, re-arranged and up close and intimate with the audience. This was then followed by the internationally successful productionStill life with man and woman (Gasthuis 2006), in which two performers enter into interactions with live projections of their fellow performers. In After Trio A (Frascati Producties, ICK Amsterdam / Emio Greco PC and COVER#2 (commissioned by), 2010), Božić had two dancers rehearse and perform Yvonne Rainer’s famous minimalist dance piece Trio A (1965) live in front of the audience.