?Dark Matter is the terra incognita of our day. Comprising a large part of the observable universe, dark matter affects the speed, structure and evolution of galaxies, yet its nature remains a mystery,? Trafó says of the piece.
The first half of the piece features a struggle between a marionette and its maker in the shadows. In the second half, seven extraordinary dancers mimic the movements of the marionette.
Dark Matters emerges from ?Pite?s curiosity and fascination with the unseen forces at work on mind and body?, Trafó says.
Pite?s Kidd Pivot troupe last performed in Budapest in the autumn of 2008, bringing Lost Action to the Trafó.
Born and raised on the Canadian West Coast, Pite is a former company member of Ballet British Columbia and William Forsythe's Ballett Frankfurt.
Crystal?s choreographic debut was in 1990, at Ballet British Columbia. Since then, she has created works for Nederlands Dans Theater I, Cullberg Ballet, Ballett Frankfurt, The National Ballet of Canada, Les Ballets Jazz de Montréal, Cedar Lake Contemporary Ballet, Ballet British Columbia, Alberta Ballet, Ballet Jorgen and several independent dance artists.
In 2002 she formed Kidd Pivot and continues to create and perform in her own work.
Pite will hold a workshop for Hungarian dancers while in Budapest. She will also speak with the dance teacher and choreographer Eszter Gál after the performance of Dark Matters.
Also on the 200pc Dance programme is a performance by the Israeli dance Emmanuel Gat at the end of April. Gat will bring Brilliant Corners to the Trafó on April 28-29.
?The work explores the forces, both mechanical and human, which generate the choreographic substance. The ever evolving structures are a direct manifestation of these forces and as such, hold revealing qualities and possible insights. Within the simplicity and clarity of a well-determined square of light, unfolds an ever-changing choreographic organism. An explosion of simultaneous ideas, Brilliant Corners functions as a seismograph of choreographic activity, tracking its vanishing structures and multiple perspectives, exposing both the fragility of the choreographic moment and its burning relevancy,? the Trafó says of the piece.
In May, the Belgian company Rosas will return to the Trafó with Fase, a dance work by choreographer Anne Teresa De Keersmaeker, in four parts set to the music of the minimalist composer Steve Reich. De Keersmaeker herself will perform in the work at the Trafó.
