In Khalal, images succeed one another, creating the stages off an inner journey.
Imperceptibly, the relationship between dancer and sculpture is transformed, from inert and heavy, « the thing » seems to change its nature, becoming light. And the man becomes heavy, holding back… A game begins, interplay, full of surprises, between heavy and light. The screens unfold and open, freed by the man. “The thing” spreads out. Taken aback by the sheer amplitude of the movement. Swept off his feet, the dancer leaves the ground, suspended now, like « the thing ». In the whirlwind of joy and despair, falling now, then rising, he strives to penetrate “the thing”, to possess it, caught up in a battle between holding on and letting go. A vision of bliss draws man and “thing” into one same whirlwind. All the elements in the performance unite in a shared breath, a shared pulsation: vision of happiness…
The final phase of the confrontation between the man and « the thing » suggests that the man enters a new inner space, open, totally attentive…
Dietlind Bertelsmann
Born in Fortaleza, Brazil, he studied dance from the age of 15 in Sao Paulo, where he learned both classical and modern techniques, after which he joined the Victor Navarro company in Rio de Janeiro.
In 1986, he chose Europe, entering Maurice Bejart’s Mudra school, where he studied choreography.
A few years later, he danced in the Compagnie du Plan K, directed by Frédéric Flamand, while pursuing his own creative work. As resident at the Atelier Sainte-Anne in Brussels, he created “Histoire de Sel”, “Serra”, “Usdum”, three studies for “Sodoma” and a performance entitled “La Cène” presented at the Bellone-Brigittines Festival.%@%
Next, he began work on a triptych inspired by woman’s relation to absent love: “Dilatatio”, “La Voix humaine” and “Systole”, the final part being created in the context of his new post as resident at the Cultural Centre of the Mons region, La Machine à Eau, in 1997.
Following the creation of “Les Villes invisibles” and “Ilagik”, As Palavras Compagnie Claudio Bernardo was founded in 1995. Next came “La Géométrie de l’Abîme” and “La Jeune fille et la Mort”.
Following the short piece, « Les Faunes », he created the study « Incandescência”, prefiguring his new project “Le Sacre - O Sacrificio”,, to be presented in its final form in March 2003.