Andreea Belu (RO) was chosen by 4Culture for the educational program offered by Workshop Foundation.

Andreea rehearsed at SÍN Culture Center during her residency. She investigated limits and self-limits; highest or lowest point, intensity, and the speed of a movement. Her aim was to work on a future performance, which will be presented in October, in Bucharest. After this individual study, she participated at the Kontakt Budapest 2011, 10. International Improvisation Festival where she attended workshops and open courses held by Hungarian and international contact improvisation teachers.

Andreea performed at the closing event of the Kontakt Budapest Festival. During her individual work, she started to research for her new production project that will be realized autumn 2011 in Bucharest.


feedback report Andreea Belu

Limits came to my attention when I found myself in a dance studio with glass walls , surrounded by green trees and a cloudless  blue sky .  Limits as restrictions, restrains,  bounds and all the other synonyms that could complete the sense of this word in a body language dictionary.  As the highest or lowest point, intensity, speed of movement – a place where the unusual, the disoriented, the dangerous begin.

Limit as a personal translation, as the fake idea that “anywhere else is better than the place/situation I am in right now”.   Most of the time not satisfied with the present, projecting a better future, somewhere else. “There”, as the perfect place and time, whatever that would mean.

When do I impose a limit? Why? How do I feel when I impose a limit?  How do I deal with this situation?  Is there anyone else who reacts like me? Am I able to see that someone? Can I keep myself open? 

Self limitation.  This is the idea I have wanted to develop in my individual study in Budapest.     


 In order to translate my concept in the physical context, I have begun with the limits of my own body:  dancing with eyes closed, reaching the highest and lowest point of movements and going beyond those points, creating discomfort.  Shortly , I realized that fear and shame appear as a reflex, as a stop sign, as a destructive limit for the quality of the movement.

              After a while, small themes appeared. Small scores that needed to be integrated into the body : from dancing with eyes closed, the score to walk on soft (slow down every landing, every step, every contact with the floor), breathing the movements, taking the movements out of the space, creating a graduate connection between the smallest and the highest point of movement, incorporating gestures, catching the rhythm of the sounds (music maybe) while I improvise, disorient myself while moving.  These all represent the movement vocabulary I need in order to create the soft, delicate, strange atmosphere I need in this performance.

To complete this atmosphere, there are two options for the characters of this performance.  The “boy- girl”  option, where they become the princess that every little girl projects in her mind and the prince that everyone expects to be the partner of the princess,  or the “same-same” options, where they both look exactly the same, without any sign of difference.  In any of these two cases, they must appear like they are out of the world that they perform in, like they have no connection to the space that they end up in.   Like two puppets accepting quietly the place that they are put in.


        A closed space with a window – wall, or an open space, with a plastic glass. A combination of openness and closure, that comes both from the space and the performers. A place where time stretches. Because this situation/ relation can be available in every time, in every mind, for one or more seconds, days, years, lives.

REHERSALS GRAPHIC  -   impressions/ discoveries/ conclusions

  Day 1

·      adapting to the space – being very, very happy to find the perfect window wall      in   the studio at the SIN cultural center;
·      blind limits – filling the space while moving with eyes closed
·      body limits – contortions, points of contact with the floor
·      moving language -  walk on soft

                         -  breathe through the movement

                         -  life in the feet

Day 2

·      putting myself in the situation of a human being that has no connection with the space he/ she is in :  appearance, gestures, reactions, moving language)
·      project myself in a space I do not want to be ->  I want out -> always dreaming of being out             “OUT” -   ?
·      when I am not connected with my inner voice (my mind, my fear), I adapt to the space and start to like it

Day 3

·      searching meanings for limit – limita – korlátoz – limitál :  restrict, restrain, bound
                                                                                                              fix value to achieve
·      believing in the fake idea that anywhere else is better ->  an excuse, a comfortable way to run away from yourself

Day 4

·      warming up : Pilates + Yoga   exercises -  connecting the breath with the movement
·      coming back to breathing the movement, taking the movement out of the space
·      think “there”

Day 5

·      question of the day: how would a moving body express the sensation of an undesired space?  ->  potential answer:  start from the sensation of limit and desire  -> start towards the window wall – eyes closed  / “  I want to be somewhere  else. This is not my life “ -> go to wide movements, occupy the space, enjoying step by step -> when you enjoy to much -> open your eyes (fear/ shame)  -> frustration -> go back to the window -> write THERE on the window, and stay there  --  continuous movement  ->  from here it must become more lucid, more clear - >  add “ ‘s a limit” next to “there”, on the window
Day 6

·      still moving with eyes closed
·      fluidity in motion
·      catching the rhythm of the music in improvised solo -> moments when the movement has the same rhythm with the sound, not counting the music
·      different intensities and shapes in walking
·      using walking and gestures to switch from one moment to another
·      “every time we enjoy our self, we automatically impose a limit”

Day 7

·      finding again the sensation of limitation
·      when do they appear?
·      how do I feel when a new limit sets in?
·      how do I leave with the limit?
·      the fear for pleasure -> Oedip complex-> fear, shame -> grudge on the limited situation

Day 8

·      characters :  2 posibilities :  -  fairytale princess and prince – they are trapped in this   world
                                                - same clothes, same apparel -> message: we are       the same -> humans before boy and girl
·      moving in the same time with my partner, very close, without  changing the distance
·      eliminating the superficial emotion

Day 9

·      warm up:  - feel your body
            - Yoga and Pilates exercises
            -  moving from every joint, maximum point of movement
·      put together all the scores, add them , one by one, integrate them in your body and use them all in the same time while moving
·      do a little contact improvisation , prepare to move with people again

After  16 days in Budapest, 9 days of individual study and 7 days of contact improvisation, I find myself back home, in the glass walls dance studio, in the exact same place where I first thought of my limits. Somehow totally changed.. Somehow totally impressed by the marks that Hungary left me, by the list of people to thank for this very important experience, for the beautiful studios where I could stay after schedule, for the total support and hospitality, for the walks, the talks, for SIN and Trafo and Gödör and The House Of Therror:









Andreea Belu

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