Marie Zechiel is a movement director and performance artist known for translating emotive narratives into stage, film and photo work. At the heart of Zechiel’s work lies an examination of internal and external identity, as she seeks to unravel the complexities of the self and connection to others. Through film, photography and live performance, Zechiel sculpts bodies and identities, crafting visual stories that challenge societal norms and perceptions.
We caught up with Marie to discuss the themes and inspiration behind her latest fashion performance film SKALAE.
Can you share with us the initial inspiration behind the movement direction for SKALAE? What elements of the story and its themes did you find most compelling to explore through movement?
The initial inspiration behind SKALAE stemmed from my ongoing exploration of the complexities of selfhood and connection. Much of my personal work delves into these themes, and SKALAE is no exception. This film is an intricate examination of identity, both internal and external, and how these facets interact and influence each other. One of the most compelling elements of SKALAE’s story is its play with the illusion of one body versus two. The narrative presents two connected bodies that are constantly torn between magnetism and evasion for one another. This dichotomy was fascinating to explore through movement, as it allowed me to delve into the tension and unity within a singular entity that feels both whole and divided. To embody this disunity in the solo character’s movement, I devised a unique movement language that captures the essence of being one yet two. This language is showcased in both solo and duet performances, highlighting the struggle and harmony that coexist within the character. An additional layer of complexity was introduced through the hair design, which physically connects the two bodies. This connection imposed technical limitations on the possible movements, challenging me to think creatively about what movements were feasible and visually compelling. The hair design became a third parameter in the choreography, adding another dimension to the exploration of inter-connectedness and constraint.
How did you approach the challenge of visually narrating the ‘timeless and sacred bonds’ that thread through our identities in SKALAE? Were there specific movements or sequences that you felt particularly captured this essence?
My focus was on encapsulating the essence of genuine connection and affection. For me, authenticity in relationships is paramount, both in performance and in life. Thus, my artistic approach has always revolved around making experiences real, both for myself as a performer and for those I collaborate with. Together, we strive to construct an entire universe within our work. In SKALAE, the duet sequence embodies this aspect most vividly. This sequence is a reflection of the deep connection between the characters, a dance of reflection, mirroring, and interaction. Each gesture is imbued with significance, evoking a profound emotional impact.
Fashion and cinematography play significant roles in SKALAE alongside movement. How did you ensure that the choreography harmonized with these elements to create a cohesive visual narrative?
As this is my film, my movement vision was paramount in shaping the final product, and other aspects had to align with this vision. From the outset, I prioritized how I wanted the choreography to be, ensuring it would be the central force driving the visual narrative. One key aspect I chose was the connected hair design, which was essential to the conceptual story of SKALAE.While this design naturally limited the range of movements, it also provided a unique creative challenge. I thrive on working with constraints, finding that limitations often push creativity in exciting directions. However, I deliberately avoided other styling choices that would excessively restrict movement, ensuring the choreography retained its fluidity and expressiveness. Choreographing for film, as opposed to stage, involves a different approach. For SKALAE, it was crucial to create key poses and movement sequences that conveyed mood and emotion swiftly and effectively. The goal was to craft visually striking images that could communicate the story’s essence in an instant, leveraging the power of cinematography to enhance the impact of the choreography. With the camera, we can be extremely close to the action, making facial expressions, gestures, and nuances in movement incredibly important and effective.
The character’s journey in SKALAE is described as embracing their innermost and ancient ties. What were some of the key emotions or states of being that you aimed to express through the character’s movements?
At the core of these ties is the connection to ourselves, to others, and to the world around us. Achieving this connection is part of a perpetual quest for balance, which, in my eyes, is an unreachable illusion. However, despite its elusiveness, we all long for it. To capture this complex journey, I focused on emotions such as being torn, experiencing anxiety, and the constant push and pull that comes with striving for inner harmony. These emotions were pivotal in shaping the character’s movements, conveying the struggle and yearning for connection amidst the inherent chaos of life.
The question “What is real and what is not?” is a recurring theme in SKALAE. How did you use movement to blur the lines between reality and the ethereal, and what techniques did you employ to achieve this effect?
One of the primary techniques was mirroring. This allowed me to create the illusion of two bodies being one, much like a reflection in a mirror. I had the pleasure to work with a fabulous twin cast for SKALAE, which gave the final touch to this illusion. By playing with the viewer’s perception, I aimed to create the deception of watching a single person, when in fact, it was two. To gradually break this illusion, I employed point reflection. While both characters maintained the same choreography, the point reflection technique subtly introduced elements that bent reality, creating a sense of unease and questioning what is real. This shift indicated that something was off, further enhancing the surreal atmosphere. The use of twins, combined with the precise mirroring technique, effectively blurred the lines between reality and illusion, engaging the viewer in a deeper exploration of the story’s themes.
In SKALAE, the interplay between the internal and external worlds is stated as being
crucial. How did you convey this delicate balance through the choreography and movement direction?
I focused on the dynamic interaction between contrasting elements: the internal versus the external, the emotional versus the rational. These two distinct worlds require a constant, honest dialogue with oneself, a dialogue that is often challenging and sometimes impossible to maintain due to various reasons. This balancing act is always in flux, a continuous back-and-forth play of forces. Which side is stronger at any given moment? This question creates tension and forms the basis of the choreography.Through movement, I explored the concepts of dominance and submission and their constant shifting. The choreography reflects this interplay, capturing the struggle and the dance between these forces. The movements embody the push and pull, the give and take, and the perpetual quest for equilibrium.
Collaboration with I AM JOHANNES was central to the creation of SKALAE. How did your vision for movement integrate with his directorial approach, and what was the collaborative process like?
Well, our creative partnership is built on a foundation of open dialogue and mutual respect. Usually, I start with an initial idea that I propose to him, and from there, the collaborative process begins. Johannes asks the right, and sometimes uncomfortable, questions, pushing me to consider aspects I might not have thought about. This dynamic creates a sort of creative ping-pong, where we bounce ideas back and forth until the final concept emerges. When it comes to movement and choreography, Johannes trusts me in my creative process and decisions. We often discuss details and contemplate slight changes in intention to ensure that every aspect of the movement aligns with the overall vision of the film. This collaborative process allows our individual strengths to complement each other. This is priceless!
SKALAE is described as a visual manifesto for the enduring nature of human connection. What message or experience do you hope the audience takes away from the movement and dance sequences in the film?
I would love the audience to take away a profound message about the duality of our experiences, sees the abysses behind the beauty and connect with that complexity. We all struggle, and life is a constant quest for inner balance. In my work, I love to examine the beautiful within the ugliness. By shining a light on the beauty of struggle, I want to convey that nothing comes without a downside. To feel real and deep emotions, we must also embrace the negative feelings that accompany them. This can be damn frightening, but isn’t it beautiful at the same time?
