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?
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
|Exhibitions & Virtual Theater THEATER DER KLÄNGE|