HEAReographics

Questioning the classical dance dependence on music is the starting point of the “Heareography” project.

To what extent can movements and movement lines become audible in space? What will it happen when music arises from movement and, furthermore, if, within such context, musicians and dancers interact?

Beyond, what if the dancer’s body is filmed on the stage and, in real time, is turned into a video sculpture that, in turn, with the human bodies on the stage result in a conglomerate that moves in real time producing material and virtual dance?

If music results from the movement of dance and, therefore, the structure of the composition is not going to be developed, adapted and interpreted anymore through music composition, what is the role of the dancer? How will this affect dance?

How do musical variations and development forms appear visually, in order to provide us with a movement, resulting in a sound that is, at first, amorphous but later adopts an understandable form and structure? Which form of contemporary light and video art results from this interactive action?
And, how can this “new” process be made understandable for a live public?
In the sensored, interactive stage of “Heareography” there are no movements that do not bring along sounds and images, so that any action by an actor on the stage must inevitably lead to music and video scenery.

A cycle of single pieces (Soli, Pas de Deux, Trios, Quartet) in the form of dance through which electronic music is produced, dance that develops video sculptures and dance from live-music structured improvisations, a constellation that, with mixed shapes, results in an overall visual composition in the form of “autonomous” dramatic art that supports the concept of “autonomous music”.