you’ve just presented a choreography for dancers and Japanese robots at Montpellier Danse, and I was surprised when you suddenly appeared on stage in the last part of “I Love my Robots.” You didn’t tell anyone you were going to do it. I’m a little surprised, too. You know, my partners in the production tricked me! They asked me to stand on the stage next to the robots so they could see my height. And I immediately fell in love with them as these robots have a marked emotionality within them and what they do. Anyway, I don’t think of myself as quitting.
However, I can perform in the piece only on special occasions, otherwise it would stop my life. I just presented a contemporary opera at Palais Garnier in Paris and I’m working on “Deconstructing Orfeo” for the Festival d’Aix-en-Provence. And my visual art work is shown at the current documenta. Once, visual art and dancing or improvisation were kind of mixed up for me in my mind. When I hold charcoal in my hands and feet, it’s visual art, and if not, I’m dancing. But these machines in “I Love my Robots” can memorize a drawing by me and perform it.
What does it mean for you to work with Kenjiro Okazaki? I actually ...