Visual theater:<\/span> Aur\u00e9lien Bory \/ Shantala Shivalingappa<\/span><\/p>\n <\/p>\n I asked Shantala if she wanted to experience ash\u2026 Something was going to die here and something was going to be reborn. Aur\u00e9lien Bory<\/span><\/i><\/p>\n Ash is not merely the solid residue of perfect combustion: it is here a process. It is part of a cycle of death and birth which begins from nothing, the start of any form in the theatre, and leans towards an ephemeral form before disappearing. Shantala\u2019s dance resembles a kolam, a flour drawing made on the ground in the morning and destroyed by the wind during the day, and made again the following day. A geometry has embedded itself in her body through the movements of her Kuchipudi, repeated thousands of times. Circles, points, symmetries, spirals, fractals\u2026 her dance seems to be a representation of the very structure of the world.\u00a0 The way the syllables link together in Shantala Shivalingappa is a music in itself. For aSH, a title made up of the first and last initials of her name, the entire space has a rhythm, the space\u00a0 expresses itself first as a vibration, which is then picked up, transformed and prolonged infinitely by the percussionist Lo\u00efc Schild. Shantala\u2019s dance is created based on her journey from India to Europe, from Kuchipudi to Pina Bausch, from Shiva to Dionysus, god of theatre, who some say are born of the same god. Shantala is always travelling between Madras, her birthplace, and Paris, where she lives. Her dance is a perpetual pendulum, much like our meeting: somewhere between the Hindu mystique and quantum physics.<\/span><\/p>\n <\/p>\n