Ofelia Jarl Ortega presents her first work on the Dansens Hus stage. In "Bien y Mal" she returns to two favourite themes: group dynamics and power.
The stakes are high and so is the potential fallout. In fact Good and Bad by choreographer Ofelia Jarl Ortega, five characters face the same fate but deal with it in different ways. What is at first glance tangible shifts and turns into uncertainty. There are no good or bad intentions, only devotion. A negotiation between fiction and fact, naivety and knowledge. Time is fragile, asymmetry becomes apparent as an unconditional bond is formed. Each point of view and position is commented on from another location, bringing us closer to them, but without making us any wiser about what will happen. The five create strategies to move forward, even though they have nothing in common, since nothing binds them together except what we, the audience, can unite them around. They keep us at bay, in a breathtaking place, while our perception is trained and becomes more nuanced. There is no way to do anything, or protect yourself from anything, it is an invitation to wait for the consequences.
Stakes are high and the potential to fall too. In the piece Bien y Mal by choreographer Ofelia Jarl Ortega, five characters are facing the same fate, dealing with it in different ways. What at first seems graspable is displaced, and becomes uncertainty. There are neither good nor bad intentions, only devotion. It's a negotiation between fiction and factuality, naivety and cunningness. Time is delicate, the asymmetry becomes clear as an unconditional bond takes shape. Any stance is commented upon from another place, which brings us closer to them,but not more certain about what will happen. The five find strategies to move forward, even if they don't have anything in common since nothing binds them, apart from what we, the audience, can unite them with. They keep us on the edge, in a breathtaking place, as our perception is trained and gets more nuanced. It's not possible to do anything or to protect oneself, it's an invitation to await the consequences.
Ofelia Jarl Ortega
Ofelia Jarl Ortega (b. 1990) is a Chilean-Swedish choreographer and performer based in Stockholm. Her work revolves around vulnerability and femininity, often with suggestive erotic aesthetics, where questions of power and group dynamics play a central role. Ofelia holds an MA in choreography from Stockholm University of the Arts (2014) and a diploma from Kgl. Sv. Ballet School (2010). Her work has been shown at ImPulsTanz (Vienna), MDT (Stockholm), Dansstationen (Malmö), Arsenic (Lausanne) and Moving in November (Helsinki).
Ofelia Jarl Ortega (b. 1990) is a Chilean-Swedish choreographer and performer based in Stockholm. Her work centres around vulnerability and femininity, often with a suggestive erotic aesthetic; where questions around power and group dynamics are at the core for her investigations. She holds a diploma from The Royal Swedish Ballet School (2010) and an MA in Choreography from Stockholms Konstnärliga Högskola (2014). Her works have been shown at venues such as ImPulsTanz (Vienna), MDT (Stockholm), Dansstationen (Malmö), Arsenic (Lausanne), and Moving in November (Helsinki).
Debriefing on 13 October. Read more.
Ofelia Jarl Ortega in close collaboration with the work's performers
Ewa Dziarnowska, Gergo D. Farkas, Paolo de Venecia Gile, Dolores Hulan and Karina Villafan.
Composition and sound design
Erik Juvia Annerborn
Terry Johnson, Johnson & Bergsmark
Dansens Hus, Arsenic - Contemporary Performing Arts Centre in Lausanne, Dansehallerne Copenhagen and Workshop Foundation in Budapest.
DansIT in Trondheim, Dansstationen Malmö, höjden studios in Stockholm and MDT in Stockholm.
With the support of
The Swedish Arts Council, the City of Stockholm and the Swedish Arts Grants Committee.