SPATIAL RHYTHMS Scenographic movements in the intersection of the installation and performing arts.
(2015)
author(s): Elina Lifländer
published in: Research Catalogue
This artistic research started with the challenges of the contemporary scenography; How to react and participate in the fluctuating performances of today? The immaterial starting point has turned into a rhythmic spatiality, where the rhythm meets visual compositions, movements, sound and other intangible elements of the performative space. After joining to the TAhTO program, my study started to move even more towards interartistic aspects where the performing art meets installation art and the participatory performance meets music and sound art. Among the important aspects today, has proved to be the process of sharing and making the spatial experience and design process more comprehensive and visible through communicative practice.
TOWARDS A SCENOGRAPHY OF THE SELF
(last edited: 2024)
author(s): Cezara-Maria Gurau
This exposition is in progress and its share status is: visible to all.
Wednesday, 21st of February 2024
23:23
52 degrees, 5 minutes, 51 seconds North;
5 degrees, 6 minutes, 19 seconds East.
The night has settled.
The sky is clear.
The city is quiet.
Mind flows through fingers.
I am here. And, now, you are here as well, but on the other side.
And while we are far away from each other, I hope distance will bring us closer.
And as you continue to read, I welcome you in the in-between.
What is the last dream you had that you can remember? Is there a dream you can never forget?
For 3 years, I had a recurring dream.
There was a house with the entrance on the back. A spiral staircase would lead to a massive old wooden door. Sometimes, it would open by itself. Other times, specific people would welcome me inside. Only on certain occasions I would open it myself. Once the way would be revealed, before me, there was always a very long, red corridor.
Transitioning is always about taking the time and observing the movement; afterward, it is about noticing how you become it, how it transforms you.
When I would least expect it, there was the door to the other side. From there, I could travel anywhere.
After a while something changed. I was left only with its memory.
For the second time, in the past 5 years, I decided to move away from the familiar, and root elsewhere. Little did I know back then, how much the spaces that we are in shape us. They offer a glimpse into ourselves.
During the time I was beginning again, I would frequently close my eyes, and after a while, an endless underground tunnel would appear behind my eyelids.
In the far distance, a light.
Try as I might to reach it, it turned out to be impossible. The path would curve every time, forming a spiral.
"Maybe you should stay more in the liminal", said Henny Dörr during a research presentation.
And I did.
Once the metaphor of this space was consciously and subconsciously embodied, I came closer to understanding the grounds of this (re)search:
encountering spaces, facing oneself, and meeting the other.
Between control and uncertainty
(last edited: 2020)
author(s): Marta Wörner Sarabia
This exposition is in progress and its share status is: visible to all.
"Between control and uncertainty" is a practice-led research that combines the kinetic study of the body as a structure and the implementation of media and expanded choreography tools to de-pattern the conventional relationship between body and space in performative environments.
Moreover, on a meta-level, the investigation reflects on the tension between control and uncertainty in the act of research itself.
With the firm belief that the body has inherent philosophical and epistemological knowledge which can be activated by experiencing and observing movement, I embraced the challenge to name and contextualize that knowledge.
This inquiry started from my fascination for the kinetics of the body and its ability to reorganize itself in comparison with other micro and macro structures that do not move that way, such a, for example, the microstructures of materials like metal, rocks or the macrostructures built by the geography of the city and the Port of Rotterdam.
The interdisciplinary research addresses the dichotomy structure-destructure and its application and affections to the body. In this sense, the research proposes a tool for de-patterning the habitual relationship between the body of the performer and the external space and offers to the audience a door for de-patterning their relationship with performative spaces.
The research has been framed under the inspirational umbrella of the idea of performing the Deleuzian concept of “becoming”, (deriving from the Latin verb “devenire” which means “coming down, falling in, arriving to”).
The physical inquiry is focused on the action of “falling in”, "devenire". The exploration led to an articulated and defined set of physical and interdisciplinary exercises that are the core of the dance practice ‘falling in’.
In concordance with the practice, the findings of this research can be seen as ways of controlling and ways of facilitating, allowing, provoking uncertainty within the choreographic practice-led research frame.
This research artistically materialized in the performance Falling in. Notes on body space and matter premiered in 2019.