The master project demonstrates an application of the theoretical framework that is developed in the research to a concrete creative process. We have focused our work on embracing each component and questioning them constantly. This is essential for us to achieve an honest result. This resembles the idea of the ‘Theatre of the Experience’, defined by Servos as an art form that, “without losing its poetic quality - obtains its resources [...] from the depths of the feelings. It appeals to affections and gives to the rational perspective the corporeality it needs in order to act” (Servos, 58). Our aim, therefore, is to communicate an abstract concept, in this case, climate change, in the most emotional and sincere way. Also, the mediums of dance and music join and enrich the artistic expression, which results in a powerful result: a cohesive and organic interdisciplinary performance.
All of the work is happening within the context of a non-hierarchical creative process, where each component is carefully worked out according to its qualities, but where no component is more important than the other. The experience in ‘The Devil on the Dance Floor’, the interviews with Laura Suárez and Mar López, and the input from Servos, Bausch, Stanislavski, Deleuze, and Guattari, support this approach to creative processes. In the case of interdisciplinary collaborations, this non-hierarchical approach is highly important for conveying the essence of each discipline and at the same time creating a new performance. In this art form, the boundaries between the disciplines fade and become part of the group expression, something that relates to one of our characteristic features as humans: the feeling of community, where the unity is multiple and rich in its multiplicity.
This research has contributed substantially to how I see myself as an artist. The process of theorisation has helped me question all the aspects of the creative process and the performance. It accomplishes, in my opinion, the goal of also serving as a guideline for other performers who are starting an interdisciplinary project.
Critique of our methods and choices deepens our practice and brings us to a higher state of self awareness. In the depths of the components and the depths of ourselves as artists, is where authenticity and honesty lie. The work of Pina Bausch is a clear example of how this deepening results in a more sincere artistic practice. And even if there is an objective, the expressive result originates from a process. As Stanislavski said: "Learn not to force the result on stage; get used to it; reach it, however, through action, in an authentic and coherent way, for all the time you are performing" (Stanislavski, "An Actor's Work"). This statement pertaining to theatre is also essential to music and dance: depth is fundamental to honesty.