“Torrado’s choreographic genius is apparent in the appropriate and cheeky characterization of the different body parts and abnormalities through movement… ‘Dysmorphilia’ as a dance suite is a coherent program. Torrado’s imagery is light and playful and, at times, dark and brooding but it was always honest.‘ – Issa Mijares, Runthru Magazine
Festival Presenters: Imaginarium: Multi-arts Festival of the Absurd, PETA Theatre Center 2014. Fringe Manila Festival 2016, School of Design Arts, College of Saint Benilde, Low Fat Art Festival, Thong Lor Art Space, Bangkok, Thailand 2016
Photos by Tuchi Imperial, Dancers: Brian Moreno, Al Garcia, PJ Rebullida, Erick Dizon, Delphine Buencamino, Zyda Baaya, Nikka Bola, Raflesia Bravo, Mara Marasigan, Jomelle Era, Buboy Raquitico
Dysmorphilia is choreographed and directed by Ea Torrado. Costumes by Leeroy New. Performance by Daloy Dance Company.
Dysmorphilia– a love for one’s own deformed body, is coined out of the Greek words ‘Dysmorph’ or ‘misshapen’ and ‘Philia’ or ‘love’. In this digital age where the norm is to represent one’s self through online avatars, Dysmorphilia exposes a hyperbolic and satirical representation of individuals’ own perceptions and imaginations of their bodies. When the media makes a villain out of blemishes on one’s skin, when the press glorifies a certain complexion, when your peers give you a different eye for your oddly placed mole, and when your family demonizes your fats, how do you define yourself?
Dysmorphilia investigates the complex relationship that one has with his own physique, and the lingering desire to be (and look like) something (or someone) else, through moving bodies. What movement language would arise from a different physicality? What would a dance be for a body that is not normal? What is a normal body? What is normal? Onstage, the piece creates a kinetic collage that plays with issues such as body dysmorphic disorder, body shame and guilt, societal definitions of beauty and the psychology of defence mechanisms from the eye of ‘the other’ (family, parents, teachers, peers, media, advertisements, etc.). As dancers embody a plethora of emotions, they paint pictures of social interactions that magnify the everyday condemnation of being ‘different’. Shades of shame, guilt, and the longing for acceptance fill the stage. Thus, twisted images that capture man’s obsession over his perceived misshapen-ess, shall be exhibited.
After defensiveness, denial, anger and frustrations, is hope. A sense of self shall emerge. This sense of self is one, in which the need to defend oneself from the others’ eyes diminishes; one where man does not succumb to the world’s double standards of bodily aesthetics. Life is experienced through the body. Therefore, the body’s experiences give account to how one lives his life. – (Written by Jared Jonathan Luna)
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