Preethi Athreya‘s Condition of Carriage on 16th October brought a stunning end to the Delhi phase of IGNITE! 2016.
In this work, Preethi and her team together search for an “honest, functional body” and the visual as well as intellectual power of its raw physicality, and in that process they address various politics associated with it. For example, through its almost gender-neutral treatment of the body, but with slight conscious tweaking, it plays with or against cliched readings of gendered bodies.
Lawrence Liang: Is the body an archive of the past or of the present?
Preethi Athreya: For me, the two things are the same. You are living and breathing every minute. There’s only the present really speaking. You only have access to your sensual and sensorial present. The present is valid in its own point of time. For the performer, it is the here and now that has resonance.
Sadanand Menon: The whole idea of the body being a repository of memory could be looked at in times when there are certain taboos placed on the body. For instance, in the 1930s when Bharatanatyam was reinvented.