The art of dance is being associated primarily to the beautiful and healthy body and it is actually ensured by having such body. However, it happened that our relation to the Dance was constructed on completely different basis.

In early 1980's in terms of full isolation from the modern world dance art, we instinctively were searching for our own dance language. No contemporary dance trainings were available that time. It was one of the reasons why we started to pursue inner impulses for further movement, and the other one was that we were mostly interested in philosophic and psychological approach towards the art itself.

How and where
was a gesture born from?
Exactly "born from", but not "made up" or "composed". Thus, step by step we came to improvisation style. We didn't only realize and accept rules of improvisation, but are inside the process itself.
Understanding and acceptance of laws of this issue in mind was not enough, the practical introduction in the process was necessary. And the most important point was directing all our searches to a specific spiritual stream course which would not let the body to move and act wantonly.
This was the long experience of improvisational practice which later allowed us to take up a creative work with disabled people.

It is impossible to demonstrate dance to a blind personяor explain music dancing to deaf-mutes as well as ICP sufferer can never follow the choreographer. However it turned out to be possible to make people with disabilities express their feelings, emotions and aspirations through artistic gestures.

Preparation and presentation of the last projects prove efficiency of the joint workshops of people with disabilities and "Visage" movement theatre dancers. In the process of dance improvisation with countenance and physical support from professional dancers, the disabled people get an opportunity to express themselves through a movement, gestures by finding an artistic equivalent to their inner condition.

Therefore our way of improvisation is based on the real feelings and relations, "simultaneously interpreted" in the scenic language.
Thus, our choreography consists of selected and elaborated, more precise and sign-like movements, born as result of this improvisational way.
Moreover, the process of such workshops entails disclosure of so many vital plots and themes that there is no need to make up or adopt a dramaturgy, as it emerges in the course of live work process.

As a spectacular example, a story of Valera (22), suffering severe ICP. When he joined our workshops he could only participate sitting in his wheel-chair. But when preparing our project "Improvisations from Life" he suddenly raised, holding the bar with his hands, and now he can dance standing on his feet with a delicate support of our dancers.

Other people's stories are amazing as well, particularly those diagnosed as oligophrenic, whose improvisation practice suddenly produces a beautiful and meaningful dance.

It seems that deep and sincere feelings expressed by a disabled, not perfect body may be more impressive for an audience and closer to the art, rather than formal and empty movements of a well-built and trained body.

2007