Creazioni e Work in Progress


Design - Sound - Dance

Music: Fuad Vand
Costume Design: Sonia Biacchi
Concept and Dance: Laura Colomban

In the Bauhaus' way of seeing Theatre and Dance, the body is a vehicle for movement, and the very important aspect of the choreographic composition is not the shape of the body but its deconstruction. Movement precede and follows the body, as two invisible elements that are visible through the physicality of the body as a medium. The movement is deforming the body, and the Schlemmer's costume used in the Stäbetanz is a clear manifestation of this distortion and dematerialization of the body.

The project StäbeTanz is looking to address the theme of Standards through Dance, Music and Art exploring the structure of fractals created by the body structure, enhanced through O.Schlemmer costume, used for StäbeTanz and the fractals created by the waves of sound in music. Our intention as a team is to question, write, and lead an inquiry concerning how cosmological rules and measures are perceived consciously and unconsciously from the body and how do we constantly are attracted to and shy away from them. The term "fractal" was first used by mathematician Benoit Mandelbrot1 in 1975. Mandelbrot based it on the Latin frāctus meaning "broken" or "fractured", and used it to extend the concept of theoretical fractional dimensions to geometric patterns in nature. Mandelbrot summarized this topic as "beautiful, damn hard, increasingly useful. That's fractals." They are not limited to geometric patterns, but can also describe processes in time, of particular relevance in the field of chaos theory, since the graphs of most chaotic processes are fractal. Modeled fractals may be sounds,digital images, electrochemical patterns, circadian rhythms, dance pattern and measures of the body.

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