Liminal States
The performance Liminal States serves as an escape from the visual sphere of our existence into the energetic embodied aspect of living. A space of liminality where experiences happen on the threshold of consciousness.
The desire behind this work is to dialogue with internal spaces that are beyond the persona. To put a focus on where the transformative happens and can be experienced as corporal liminal states of abyss. Ultimately it can be seen as a meditation on the elusive but powerful sub-currents of our lives.
Dance work by choreographer Margrét Sara Guðjónsdóttir
Premiered November 1st, big stage, City Theater
The work is based on an ongoing artistic research conducted by the choreographer into altered states of perception through phenomenological embodiment. It is the last in a trilogy dealing with the notion of larger forces that act on us beyond our conscious mind. The trilogy consists of; Pervasive Magnetic Stimuli (2018), Boundless Ominous Fields (2024), Liminal States (2024). The original composition was created by Peter Rehberg for the performance Pervasive Magnetic Stimuli (2018). Creating a new performance Liminal States (2024) on Peter's music is a tribute to the decade-long collaboration between Icelandic choreographer Margrét Sara Guðjónsdóttir and Peter Rehberg until his passing in 2021. The music composition will be released on vinyl on Editions Mego in January 2025. Pre-release at the Liminal States premiere 1st November 2024 at the City Theatre of Reykjavík in Iceland.
For the last 15 years Margrét has been addressing various facets of the pathological imprint of the social political body within our own bodies and its de-conditioning in her choreographic works. As well as research into the deep tissue release practice FULL DROP. She considers her work involving de-conditioning as a direct political gesture and activism. In a larger sense her performance works engage in the ongoing discussion of healing, feminism, interconnectedness and notions of energetic citizenship within the choreographic context. The performers use her FULL DROP practice to access different body states and altered states of awareness. So called HYPERSTATES of high resonance and sensitivity. These body states are celebrated as visceral denials of the externally and internally imposed imperatives to achieve, and draw a contrast between the neoliberal logic of hyperactivity and productivity by presenting an alternative kind of energy and strength. Forming a corporeal language that serves as a doorway into the subconscious which allows for radical questioning of our inner and outer realities through new knowledge and perception of ourselves.
Margrét Sara Guðjónsdóttir
Icelandic Berlin based choreographer Margrét Sara Guðjónsdóttir studied dance in Holland and then worked as a performer with various performance makers around Europe during the period 2001-2014. Such as; Jan Fabre/Troubleyn, Giselle Vienna, Constanza Macras/Dorkypark, Erna Ómarsdóttir and Jóhann Jóhansson, Angela Schubot, Jared Gradinger, Nir De Volf/Total Brutal.
She lived in Berlin creating and touring her dance performances while co-founding the production house Panic Productions in Iceland with Sveinbjörg Þórhallsdóttir which was active from 2004 – 2009, and focused on producing and initiating collaborative performance works with international artists for the Icelandic stage and beyond it.
Margrét Sara has toured her performance works internationally since 2001 and has been supported by cultural platforms, institutions and theatre and dance Festivals across Europe. She was a house artist at the Sophiensaele theatre in Berlin 2014-2018 and along with her own projects she did various commissioned works for amongst others; The Cullberg Ballet in Sweden, Les Grand Traversees festival in Bordeaux, and The Folk Opera in Stockholm.
She co-curated four performance series titled Flutgraben Performances in Berlin 2019-2020 and her work has been written about in various publications within the context of academia and the arts. During her carrier as a dancer and choreographer her work has been viewed on many of Berlins theatre stages and through out her long term carrier abroad she has shown her work throughout the years on a regular basis at the Reykjavik Dance festival. Her newest performance Boundless Ominous Fields was premiered at the international Side Step festival at Zodiak centre of dance in Helsinki in February 2024.
In addition to her own productions Margrét Saras has worked collaboratively on interdisciplinary projects during the last years with visual artist and filmmaker Hulda Rós Guðnadóttir and composer and violinist Guðný Guðmundsdóttir, sound and performance artists Esther Mugambi, Phenomenologist Prof. Susan Kosel, and is currently works long term with the dancer artists Karolina Ginman, Marlon Moilanen and composer and cellist Lucy Raylton. Margrét Sara collaborated continually with English electronic music composer Peter Rehberg from 2010 until his passing in 2021.
Concept
Margrét Sara Guðjónsdóttir
Liminal States
The performance Liminal States serves as an escape from the visual sphere of our existence into the energetic embodied aspect of living. A space of liminality where experiences happen on the threshold of consciousness.
The desire behind this work is to dialogue with internal spaces that are beyond the persona. To put a focus on where the transformative happens and can be experienced as corporal liminal states of abyss. Ultimately it can be seen as a meditation on the elusive but powerful sub-currents of our lives.
Dance work by choreographer Margrét Sara Guðjónsdóttir
Premiered November 1st, big stage, City Theater
The work is based on an ongoing artistic research conducted by the choreographer into altered states of perception through phenomenological embodiment. It is the last in a trilogy dealing with the notion of larger forces that act on us beyond our conscious mind. The trilogy consists of; Pervasive Magnetic Stimuli (2018), Boundless Ominous Fields (2024), Liminal States (2024). The original composition was created by Peter Rehberg for the performance Pervasive Magnetic Stimuli (2018). Creating a new performance Liminal States (2024) on Peter's music is a tribute to the decade-long collaboration between Icelandic choreographer Margrét Sara Guðjónsdóttir and Peter Rehberg until his passing in 2021. The music composition will be released on vinyl on Editions Mego in January 2025. Pre-release at the Liminal States premiere 1st November 2024 at the City Theatre of Reykjavík in Iceland.
For the last 15 years Margrét has been addressing various facets of the pathological imprint of the social political body within our own bodies and its de-conditioning in her choreographic works. As well as research into the deep tissue release practice FULL DROP. She considers her work involving de-conditioning as a direct political gesture and activism. In a larger sense her performance works engage in the ongoing discussion of healing, feminism, interconnectedness and notions of energetic citizenship within the choreographic context. The performers use her FULL DROP practice to access different body states and altered states of awareness. So called HYPERSTATES of high resonance and sensitivity. These body states are celebrated as visceral denials of the externally and internally imposed imperatives to achieve, and draw a contrast between the neoliberal logic of hyperactivity and productivity by presenting an alternative kind of energy and strength. Forming a corporeal language that serves as a doorway into the subconscious which allows for radical questioning of our inner and outer realities through new knowledge and perception of ourselves.
Margrét Sara Guðjónsdóttir
Icelandic Berlin based choreographer Margrét Sara Guðjónsdóttir studied dance in Holland and then worked as a performer with various performance makers around Europe during the period 2001-2014. Such as; Jan Fabre/Troubleyn, Giselle Vienna, Constanza Macras/Dorkypark, Erna Ómarsdóttir and Jóhann Jóhansson, Angela Schubot, Jared Gradinger, Nir De Volf/Total Brutal.
She lived in Berlin creating and touring her dance performances while co-founding the production house Panic Productions in Iceland with Sveinbjörg Þórhallsdóttir which was active from 2004 – 2009, and focused on producing and initiating collaborative performance works with international artists for the Icelandic stage and beyond it.
Margrét Sara has toured her performance works internationally since 2001 and has been supported by cultural platforms, institutions and theatre and dance Festivals across Europe. She was a house artist at the Sophiensaele theatre in Berlin 2014-2018 and along with her own projects she did various commissioned works for amongst others; The Cullberg Ballet in Sweden, Les Grand Traversees festival in Bordeaux, and The Folk Opera in Stockholm.
She co-curated four performance series titled Flutgraben Performances in Berlin 2019-2020 and her work has been written about in various publications within the context of academia and the arts. During her carrier as a dancer and choreographer her work has been viewed on many of Berlins theatre stages and through out her long term carrier abroad she has shown her work throughout the years on a regular basis at the Reykjavik Dance festival. Her newest performance Boundless Ominous Fields was premiered at the international Side Step festival at Zodiak centre of dance in Helsinki in February 2024.
In addition to her own productions Margrét Saras has worked collaboratively on interdisciplinary projects during the last years with visual artist and filmmaker Hulda Rós Guðnadóttir and composer and violinist Guðný Guðmundsdóttir, sound and performance artists Esther Mugambi, Phenomenologist Prof. Susan Kosel, and is currently works long term with the dancer artists Karolina Ginman, Marlon Moilanen and composer and cellist Lucy Raylton. Margrét Sara collaborated continually with English electronic music composer Peter Rehberg from 2010 until his passing in 2021.
Concept
Margrét Sara Guðjónsdóttir
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