From schema to rhuthmos: the idiorrhythmic encounters of the bridge of winds

Abstract

The Bridge of Winds is an international research group founded in 1989 by Odin Teatret actress Iben Nagel Rasmussen. For thirty-three years, a core group of artists from 12 countries has met together annually, carrying out in-depth research into the actor’s craft. During these encounters, highly detailed psychophysical training is recovered and developed by the group, which feeds into performances, concerts and barters. The aim of this critical article is to reflect on the role of agency in the Bridge of Wind’s practice, drawing on field research carried out by the author in December 2021. It is argued that Rasmussen and her partners in the Bridge of Winds have re-envisioned laboratory theatre practice, allowing for an idiorrhythmic culture of practice to emerge that balances schema (fixed, fully developed form) and rhuthmos, (improvised, changeable form). Whilst the members of the Bridge of Winds are rigorous and disciplined, having inherited a laboratory ethos and schematic leaning grounded in the practice of Odin Teatret, there is a tenacious trace in their work of an idiorrhythmity that also allows for subversion, transformation and revolt. The group’s training, in particular, accommodates the reality of the older actor’s body, just as it enables younger arrivals to excavate a sense of bios. Thus, the essay will chart out the contours of a particular nomadic laboratory practice that advocates both individual agency and collective solidarity, serving as a creative touchstone and wellspring for its members.