Elīna Lutce was born in 1987 and studied dance and choreography at the Latvian Academy of Culture. After their graduation in 2011 they worked as a choreographer and dancer, presenting their work at independent venues in Rīga. Lutce has regularly collaborated with theatre directors Elmārs Seņkovs and Viesturs Kairišs on several drama productions at the National Theatre and National Opera. As a performer, Lutce has worked with choreographers Koen Augustijnen, Willi Dorner, Heine Avdal & Yukiko Shinozaki, contact Gonzo and Branko Potačan.
I consider every single body as a unique universe which makes its own significant movement and creates a specific body language. The body moves and converses with itself, the environment or another body. This communication is mostly intentional, but a lot of it is also automatic. Our bodies are used to life with limitations either imposed by outside norms or by our own decision. In a solo dance performance called Corpus (2015), which was created together with the visual artist Krista Dzudzilo, I explored the restrictions of the body using the baroque form as a hyperbole for the body and its freedom in the conditions where it’s not only hard to move, but almost impossible to breathe.
I used to start with the physical necessity of the motion (stretching, jumping, falling) that I often used as a base, and then step by step, little by little more complex structures and ideas developed. The intention was to achieve meaningful movements instead of copying existing forms. Then I discovered Jozef Frucek & Linda Kapetanea who are the founders of Fighting Monkey Practice. They created what they called “movement situations” to provoke and increase the adaptive value of our behaviour traits. I got very inspired by their experience and concepts.
I am now exploring how these new ideas and movement practice can support the content of my current solo project, where my main focus is on a woman in relation with “the greatest invention of the industrial revolution”: the washing machine.