Aortas Partitur is an audio-kinetic picture-tour through the body’s inner landscapes.

An orchestration of the multifarious voices of organs, fluids and bones; an audio evocation of the anatomical resonant space plus a physical manifestation of the pictorial material which spontaneously unfolds on contact with specific parts of the body.

The body reminds us that we are of nature and, like nature in its essence, separates us from the world, holds our streaming innards together and provides the mask with which we meet each other.

When we attempt to understand the body we turn to anatomy. The paradox in this is simply that anatomy gathers its information by dissecting the dead body. In other words, it is with the dead we seek knowledge of the living.

Aortas Partitur is a theatrical discourse on this paradox. With the anatomical awareness in mind we attempt to place a choreographic incision on the still-living body and proffer ourselves to the pictures which spontaneously emerge.

Aortas Partitur the first in a series of X-act produced performances which focus on body, anatomy and choreography.

The audio component of the performance is an electroacoustic composition based on processed sounds from the human mouth and voice.

Choreography and Staging Kitt Johnson
Choreography and Dance Nadine Milzner, Mette Aakjær, Mari Mägi, Anne-Claire Theissen, Susan Gritzman
Music Sture Ericson
Light Design Mogens Kjempff

Length of performance 55 minutes.

Presented by X-act with support from the Danish Theatre Council, The Wilhelm Hansen Foundation, The Augustinus Foundation and the Tuborg Foundation.

The performance was created in close collaboration with the dancers.

The sound effects of the performance are an electro acoustic composition based on sounds taken from the human mouth and voice.

Brilliant, original and stirring ... a mystical exploration of our own insides ... a journey towards the soul, beyond the stuff of anatomy ... We can admire the consistency of the performance, its precision plus the competence of the dancers. But the secret we go home with is, perhaps, foremost an artistically communicated experience which is that the body and all of its wonderful and unbelievable activities is, after all, an experience of the spirit.
Erik Aschengreen, 27th May ’03, Berlingske Tidende, Denmark.

Kitt Johnson has realised her own unique universe, which does not apologise for itself ; a world with its own totally indisputable logic, with its extremely individual aesthetic and far beyond the more conventional renditions of the beauty of dance ... Aortas Partitur is a poem of tissue, skin, sinews and muscles ... brilliantly delivered. The body, seldom graceful and yet indisputably real, just as the body is.
Mikael Bo, 29th May ’03, Politiken, Denmark.

... with sound electronically adapted from the mouth and voice as an auditory piece of scenery, we see naked backs and shoulders which wriggle in a manner one didn’t think possible. Totally controlled by the dancers ... who are like micro-organisms or seaweeds with quivering, shivering, sucking movements. Swaying, gently wriggling, alone or entangled ... It is as beautiful as life itself in its infancy.
Henrik Lyding, 29th May ’03, Jyllandsposten, Denmark.