PERFORMING SPACES

Space as the common ground for different skills.

The human body possess a knowledge, in its single parts and as a whole: a biological and archetipal knowledge that traverse its every single cell, a memory, an inexhaustible patrimony to explore through a combination of rigour, patience and discipline, in other words, the necessary tools for the dancer and the musician to be skilled. Languages, and therefore music and dance as well, are the fruit of this search, they are the conscious image of an originary learning. The notion that the vocabulary at the base of any choreographic and musical traditions is, in fact, beyond time, seems a necessary point of departure for any experimental work in our disciplines. In their difference, the skills proper to the dancer and the musician create a linguistic universe made of symbols, syntax and customary practices connected through a tight web of analogies, the one teaches the other his own vocabulary within the common ground of the stage space, a place where the time of sound and the time of movement coexist in a sort of free polyphony.

RECORDING MEDIA

Recording as a mean to observe, isolate and recompose experience.

Every new adventure in composition, whether it is musical or choreographic, leaves traces of itself in images, sounds and words: working proofs, sketches, archival documents. They witness the creative process a work stems from. These documents suggest new ways, new possible paths, different from the ones that had led us to a finished work. They are traces that demand to be reconsidered from different and multiple perspectives. The ritual of visioning engenders a reflection on the very nature of recording, showing the creative possibilities that such an activity can contain. The act of selecting, isolating and framing implies an increased sense of focus, a process where a detail becomes the unity of measure in a new compositional logic. A way for archival material to become the source of a new creation.