Interview: Ioana Mona Popovici

The Romanian choreographer discusses Portrét (Portrait), her upcoming collaboration with the Czech dance company Nanohach

One of Europe's leading young choreographers, Ioana Mona Popovici's last piece, Remote Edens, was the runner-up for the 2005 Sazka Award, presented to the "dance discovery of the year" at Prague's Tanec Praha festival.

As a result, Nanohach, a two-year-old Czech company who've previously worked with Norwegian choreographer Karen Foss, invited her to collaborate on a new full-length project, which premieres at Divadlo Ponec on September 19th and 20th October 18th, 2006. [Postponed due to injury.]

Český Rozhlas's Kateřina Prouzová spoke to Popovici about the creative process.

Kateřina Prouzová: So what is the theme of the project being prepared?

Ioana Mona Popovici: Speaking very shortly, the main topic of the performance is guilt, blame and lack of forgivness. My central concern is to portray the fact that in all three main stages of our existence we deal with the attitude of culpability.

KP: How was your cooperation with Nanohach?

IMP: It has been a very good meeting, that opened us to very new territories. The work process is extremely difficult and concentrated. I am thankful for the creativity and patience of the company.

KP: Have you had as much time as you need to realize this project?

IMP: Being in the middle of the process, I would always complain and blame the limitation of time, even if this would be 6 months. I hope I do have enough time. Actually a dead-line is necessary, because after a certain amount of time, personally I feel like destroying everything and starting all over again,in a different way.

For me a performance finishes few months after its premiere, when I reach a certain distance and open again my “outside eye”.

KP: What would you like to say to the audience coming to see your performance? What would you tell them to expect?

IMP: I never have in mind the audiences’ expectations, as I create something first for myself, but I do wish that the performance will talk to the audience, as it does to me and the dancers I work with.
Thinking only about the needs and expectations of an audience would be a huge failure.

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