by Riccardo Barone

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What happens if the scenography gets involved and starts to dance and to move in a piece of contemporary dance?

The sculptural objects were made of crimped paper which were able to be squeezed in and out and turn into different figures and shapes, constantly changing the scenario and the environment. Occasionally worn  by the dancers as an ornament or as a blanket, this moving sculptures needed to be manually moved on the stage by the actor Stephen Sheehan, which was sometimes joining the dance in as well, or by the dancers themselves.

The choreography is straightforward, there is no time for any graceful movement, as the sounds in the background appropriately suggest, which often resulted in a static, basic leitmotiv, root and central meaning of the entire performance’s philosophy.

The entire performance has been designed for people with non-hearing disability too, as far as a screen on the top of the stage displayed waveforms and other abstract figures synchronised with the tempo, rhythm and dynamics of the sound score.

Kryzstoff rating: 3K

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