|Courtney May Robertson
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The pleasure of stepping off a horse when it’s moving at full speed
As a point of departure for this short solo performance, Courtney May Robertson takes a metaphor for self-control: a horse rider taming a wild horse. She looks at the struggle between embracing your desires and controlling behaviour in accordance with social pressure. Visual projections envelope Courtney in an octagon four meters in diameter. Via a combination of poetry, dance and singing, she travels through landscapes of personal desire, memories and conflict. The space functions as a time capsule; intimate home videos are mixed with YouTube fragments, documentaries and old movies. The pleasure of stepping off a horse at full speed is Courtney’s attempt to embrace the sometimes messy contradictions that make up a versatile person.
Two men, they slide over the floor. Their torsos and limbs double before our eyes and tangle and untangle. Breakdancer Simon Bus made this duet together with b-boy Roy Overdijk (The Ruggeds). They both fold their bodies in all directions with the greatest of ease; inimitably physical. With Febris, Simon and Roy bring an ode to fever, an ode to the feverish body and the sultry intimacy of a fever dream. The vision.
Serenity and perspective go together in Simon’s work. Starting from narrative themes, he gradually introduces an abstraction that is comforting and, at the same time, invites unrest.
Courtney May Robertson (Scotland, 1992) is a performer and creative established in Rotterdam. After her graduation in 2013 she joined Club Guy & Roni’s Poetic Disasters Club. Since then, she has performed often throughout Europe in works by choreographers including Jan Martens, Connor Schumacher, and Florentina Holzinger. In 2015 she began creating her own small-scale/DIY produced performances. From 2020 she was artist in residence with ICK Artist Space in Amsterdam; her recent work is also coproduced by Dansateliers Rotterdam. As a trained dancer, Courtney’s work begins with the body, but also encompasses various disciplines such as video, generative art and writing. Recurring subjects in her work revolve around a wide-spread phenomena she defines as ‘the ruthless urge to dominate’.
For THE WOMAN DESTROYED, she was awarded the 2020 De Troffel Prize: the Festival Clements encouragement prize for young creatives. She was also nominated for the Belgian equivalent, the Roel Verniers Prize of Het TheaterFestival Belgium. In addition, the short solo she created earlier, The pleasure of stepping off a horse when it’s moving at full speed, was selected for Aerowaves Twenty22.
Serenity and perspective go together in Simon’s work. Starting from narrative themes, he gradually introduces an abstraction that is comforting and, at the same time, invites unrest. He uses movement to create space for associations. More than a quality to applauded, virtuosity and extreme physical possibilities prove to be a source of humour and perspective.
From his wonderfully flexible body as a B-boy developed an authentic movement language with which he keeps experimenting. Breakdance is for him synonymous with unicity and originality. His B-boy name Statue betrays the unique sense of image he brings to dance. In the coming years Simon will enhance his artistry under the supervision of Corpo Máquina.