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body. It’s really hard to find the right kind of breed. I trymy best to say, “Do not audition. This is the craziest thing you’re going to do.”What we do is not normal. It’s different fromcircus,which though it’s very dangerous, there’s a language to jumping on a trampoline, like ballet. Diavolo ismore experimental.Moving on a dome that’s rotating and is very slippery –well, there’s no technique for that. You have to discover it in themoment.

Are any companymembers trained ina discipline other than dance? We have a fewwith a gymnastic background. Some do rock climbing. But I also needmen andwomenwho have a ballet background,who can understand the line of the body, and I need themto be gladiators and be able to roll and run and flip. There’s a theme of heroismin the work ofDiavolo.We try to do something out of the ordinary and a little wild.

A+C:Do youhave frequent injuries? JH: The hospital knows us by our first name.

Yourworkseems to be about the danger and anxiety created bynewtechnologies. When I growing up in the ’60s and ’70s, technology did not dictate. Therewas a certain freedombecausewherever Iwas, thatwasmy world. I didn’t have to checkmy phone. It felt simple in away. Itwas more aboutwhat the humanswere doing.Now, technology is driving us.On the one hand, there’s an amazing advantage to it.On the other hand, the human being is getting lost to it. That’s another layer of the work ofDiavolo – howfragile and vulnerablewe are. The reason there is danger and fear and chaos in ourwork is not just because of the wowfactor but because it is a social comment.

Reprinted fromArts+Culture Texas.


a publication of the dance council of north texas

vol 18 • no 1

Feb-Apr 2015

page 17

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