Zero Degrees (2005) Khan & Larbi

Question 1

When and who did Larbi collab with to create ‘Zero Degrees’?

Answer 1

Akram Khan in 2005

Question 2

What is the subject matter of Zero Degrees (2005)?

Answer 2

“Zero degrees is the reference point where everything begins” - A journey to seek the reference point inspired by their dual identities.

Question 3

Who are the collaborators on Zero Degrees (2005)?

Answer 3

Choreography: Larbi and Khan
Physical set: Antony Gormley
Aural setting: Nitin Sawhney

Question 4

What is the set design for Zero Degrees (2005)?

Answer 4

• Symmetrical minimal proscenium stage set.
• Grey walls and floor with a white line vertically across the middle of the stage.
• 2 white mannequinnes (Ibral and Marka)

Question 5

Give a movement example that shows Larbi’s collaboration, synchronised text and gesture, tanz theater, influence of Trisha Brown, and projection to audience.

Answer 5

Both Larbi and Khan sit cross-legged DSC, Khan to the right, Larbi to the left, of the white line running vertically CS. Their elbows are on their knees with one hand on the other, resting their chins on them. Focusing on DSR. They say “And i remember that there were these guards there, who looked very, very, powerful”. On “guards” they interlock their fingers and look DS sharply on “powerful”.

Question 6

Give a movement example that shows Larbi’s collaboration, influence of Bausch and Brown, dual heritage, boundaries/borders, subject matter.

Answer 6

In Episode 2, Khan and Larbi stand up CS, facing each other and they are slightly crouched, They bring their heads up and with their hands joint at all times they perform a range of gestural, flowy arm movements, keeping connected.

Question 7

Give a movement example that shows Larbi’s contortion, fluidity of movement, exploration of personal culture and identity.

Answer 7

In Episode 4, Khan is SR with Marka, his mannequin, the other mannequin is stood CS. Larbi is just left of the sculpture and he slides/crawls to SL, with his hands around his neck, head on floor, he kicks into a headstand before slowly sliding into a chest stand, allowing his back to curve and feet to dangle over his head where he pauses.