Laboratory contact improvisation and public space
guided by Tatiana Pérez
Develop a dance of contact between person and the geography of public space. Using improvisation as a flexible forward.
be proposed as geography, all that supports and welcomes a body / person, from the sounds and volumes, smells, ideas, colors, textures, creatures that inhabit it, architectural elements, memories, weather, etc.. Establishing
as "the only choice of space, this is public. To that geography is rich in variety of pieces of research.
Delivering the question "How gender dialogue through contact between one or more bodies and geography, allowing information to believe that this donation movements and thus a new dance.
In this lab, each person can share with one or more areas of geography, we will move. One or more areas with which we contact in the concrete and the poetic.
be used slogans and improvisational games to bring the members of the laboratory to the elements of the geography of their choice, creating a dialogue as a conversation, ie, I stand in front of a space element, memory, a place and beginning to know this, creating a conversation, from the usual, everyday, to abstract and surreal. Also offer as a person, my being recognizable, and then go to details and then the thoughts and ideas.
During the development of the laboratory will search for material, and then shared at the end of the process, with the festival in general and guests.
Tatiana Perez, born on September 2, 1980, in Santiago de Chile, begins to take dance lessons and piano from an early age.
In 2005 he created the dance company in public spaces "Collective restless," along with Frank Gazitúa, with which it has created and directed five plays, "Traslaxion", "Temporary Home", "Stroke or neighborhood biography" ENVIRONMENT and animal sleep in the city (all created and displayed in public spaces). This group continues to this day showing his latest work.
is entitled to a degree in art and dance educator in 2006, Arcis University. Join
three times in the international festival "Dance on the edge" of the global network "Cities dance" with the works, "Back to look" Daniela Marini, "Traslaxion" and "Temporary Home", the group troubled under his leadership. All displayed in public spaces. Join
twice at the festival of street art "street art explosion" in 2008 and 2009, with works ANIMAL ENVIRONMENT and sleeping in the city, under his direction, the Collective Restless.
part in the creation and display of the play "The second word in the creation of" Women Installed "and the sample of" Manual number one "of Director Sergio Valenzuela, in 2006, 2007 and 2008. At the same time working since 2002 to date, making contemporary dance classes in different rooms of Santiago, circus in the world and dance school at the University of the Americas and in two villages in the region of rivers of Chile, called Puerto fuy Neltume. In which he teaches at four rural schools under the auspices of the foundation Huilo Huilo, the ecological reserve of the same name.
JAMs and Live Music
practice sessions JAMs contact improvisation, are instances of "freedom", can dance a time or all hours the session lasts, you can go look, you record or take pictures, you can go to draw, are also welcome those who want to participate in music.
About participation
musical improvisations guided by Daniel Mendoza SM
is no denying the close relationship between dance and music. Probably because Dance naturally born as a body of music interpretation, ie the instinctive need arose to translate the language of sound into the language of movement. So in the origins of Western culture, established a certain hierarchy between the two terms, a bond of dependency such that time was not conceived to dance without music ...
While this has been changing over time, and has managed to reach a situation of horizontal dialogue between the two disciplines (such as the idea of \u200b\u200b"Jams"), I noticed that on many occasions, to take role of improvised music, still beats inside me that conditioning cultural places I'm playing in a close creative, and dance as a separate entity that depends more on me than I of him. A condition that, as a parasite of the unconscious, it makes me play "to dance" instead of "For dance." It's like when in a conversation, try to convince you stop looking for a communicative instance, allowed to create connections for believing only be right.
was the need to get rid of this bug which led me to design a proposal for a musical director for the Festival meeting, which aimed to investigate exactly what would happen if the roles were reversed in the dependency ratio Dance-Music. Thus arose the idea of \u200b\u200bcreating a map of improvisation in which the characteristics of sound events could only be determined by the actions of the dancers present. BODIES AS SCORE, and the musicians made the service completely improvised choreography. As in nature, this system can not conceive of improvisation sound without physical movement.
0 comments:
Post a Comment