Lingua Franca is a physical performance inspired by Valdur Mikita’s works “Lingvistiline mets” (Linguistic Forest), “Metsik lingvistika” (Wild Linguistics) and “Lindvistika” (Birduistics). These ideas have found their form through synesthesia or union of senses, and also through forest-inspired corporal poetry.
Synesthesia is a phenomenon where parts of brain, responsible for different senses, are activated at once, creating experiences that stimulate several senses at the same time. People who have synesthesia, can see forms of sounds, or smell colours, or hear touches, or know the movement patterns of numbers, etc.
It is a piece connecting different art forms and uniting words with movement, colours, music, text, light, songs, smells, sounds, dance, voices and thoughts. It mainly explores the question of finding your own language and interacting with others using this individual system of signs.
How to arrive to others when it is so hard to get in touch with ourselves? Where to find a suitable form of thoughts and movement to be in harmony with yourself and reach others? What are music morphology and movement phonetics?
Our world is a confusing one. It may seem easy to reach billions of people in a matter of seconds, but because of our prejudice and inability to adapt we have actually constructed a Babel tower with very few windows to the future. Mikita’s works, however, convey a sense of comfort by suggesting that if we would only listen more carefully to our internal monologues, we would not need all these schemes and instructions on how to be happy. If we could just trust the program our body has to offer. Our aim on the stage is to create a similar feeling of reassurance and warmth.
Lingua franca’s troupe has a very colourful background including members of different gender, age, nation, belief and way of expression. But they are all, together and individually, dedicated to finding their own language, as well as a collective way of communication supra language, nation and religion.
My grandfather once wrote into my rhyme book, “Grandpa used to say; to scream in the forest is not the way.”
My grandmother once said, “When I get old, I’ll stuff my ears with cotton, close the door and crawl into the bed to read.”
Original idea: Evelin Jõgiste
Performers: Evelin Jõgiste, Laura Kalle (Ugala Theatre), Mingo Rajandi, Yucef Zraiby, Leno Morfin
Directors: Evelin Jõgiste, Laura Kalle
Playwright: Laura Kalle
Original music: Mingo Rajandi
Sound designer: Haar Tammik
Lighting Designer: Rommi Ruttas
Production: Moon Productions
Illustrations: Triin Aimla-Laid
Tickets available in Piletilevi!
Evelin Jõgiste is a freelance actress and theatre producer. After graduating from a bachelor degree of theatre studies in Tartu University, she studied corporeal mime and physical theatre in Moveo, in Barcelona. She has also participated in numerous physical theatre and acting workshops in Barcelona, London and Berlin. Starting from spring 2015, she teaches corporeal mime and physical theatre at the Viljandi Culture Academy. She likes to combine corporeal mime with other physical theatre disciplines and innovative and creative theatre methods with more traditional ones as well as with other art forms.
Laura Kalle graduated last year from the Theatre School of the Estonian Academy of Music and Theatre and has studied also linguistics. Her interests at the moment are word tones and rhythms, bodily metaphors and their etymology. Laura works in the Ugala Theatre as an actress and a playwright since 2016.
Mingo Rajandi is a composer and a bass player who loves walking on borders and crossing them without noticing. Keywords of her creation are intuition, bright colours and pulsating rhythms. She generally likes to travel inside music without a visa and borrow the necessary elements from different places. Mingo is the leader of several musical groups and participates also in the creative agency Avarus.
Yucef Zraiby is a freelance actor and performance artist from Beirut living and working in Barcelona. He has graduated from the corporal mime and physical theatre school of Moveo in Barcelona, where he also completed a thorough two-year specialization course and worked also with the Lecoq technique and contemporary dance. He has also studied in the AFILM Actor’s Studio’s in Barcelona. His most important instrument in his creative work is his body and its multiple textures and opportunities to move. His main inspiration is almost always the controversy of the present society.
Leno Morfin comes from Mexico. His paintings are an experience. Abstracts of clean colours and exciting forms where devoted passion for creation interweaves with visions for future. The artist’s first visit to Estonia in 2010 marked liberation from the boundaries of contradiction, idea and intention in his work: his paintings do not depict, image, embellish or decorate. He needs no view; his paintings are a view to an open and undiscovered world. Leno’s canvas is a screen lit up by a cosmic projector light that perpetuates everything seemingly valuable at a particular moment, looking at the big picture, from somewhere above.
There are more than 7 billion people in the world. Each of them has a unique way to experience life.
I do not think that the linguistics would be sufficient to express and try to explain my own experience.
Cause, as I can see the sounds and smell the colors and feel the taste of the numbers and see the smells and feel the sensations of my thoughts and hear my emotions and...
I would really need my own language to make you understand what I'm living... And you'd also need a language of your own to be able to tell me what you are living, wouldn’t you?
Would it be possible to communicate in the languages of each?
MIDIOMA is a conversation between two beings trying to communicate with each other using their very own system of signs.
MIDIOMA is the first short showing of a physical theatre production in progress that will premiere in April 2017.
Original idea: Evelin Jõgiste
Creators/Directors: Evelin Jõgiste, Yucef Zraiby
Performers: Evelin Jõgiste, Yucef Zraiby