Written from bottomless pits, ‘Got the track…’ welcomes you into a residual space-time.
A warning from the outset: the piece opens with a prolonged state of falling.
Naya Alezina
In this perceptual shift, we follow the pace of a rap video inexorably slowed down, stretched under the tension of its cinematic self-references. Here, the body arches to the tips of its fingers, scratching at the inconceivable, clinging to it without shortcuts or promises of resolution. When ‘what I fall into’ opens up to the next abyss, ‘what I fall on’, continuity is possible: fragile, faltering, made up of black flashes and jolts.
Then discreet forms of resistance begin to escape, smells of hot rubber, unbridled horses (…) A 180 on the hard shoulder while the ground, covered with a dark material, seeks its way up to eye level. A visibly bare surface, it is only the temporary effect of a thin handkerchief on a seeping crust. An enticing packaging, making what lies beneath necessarily present and persistent, desirable but opaque: a place of negotiation.
A performer, visual artist and playwright based in Brussels, Naya Alezina (she/her) trained at the Beaux-Arts in Nantes and then at ISAC, where she conceived of choreographed movement as a gesture of digging and exploring what she calls the “inner texture”. Influenced by the visual constructions of music videos and cinema, she conceives of the stage as a perceptive montage; an ever-blunt and cynical invitation to join her on a descent, guided by the density of her writing. Also a performer, collaborator and ally, Naya continues her research alongside artists such as Alphonse Eklou Uwantege, Golestân Outi-Rouhi, Zoé Hagen and Mahi Hadjammar.
Infos
| DATE | CONTENU |
|---|---|
| 2026/04/252000 |
25.04.2026 20:00 Studio Thor, Saint-Josse-ten-Noode Réservations |
Team:
- Concept, writing and performance: Naya Alezina
- Collaboration and performance: Abubakar Sankoh, Golestân Outil-Rouhi, Angela Mit, Adèle Hagège
- Choreographic support: Angela Mit
- Set design: Naya Alezina
- External perspectives: Sabine Cmelniski, Marie Umuhoza
With the support of La Bellone, La Générale, ISAC – Institut Supérieur des Arts et des Chorégraphies