Monday, January 21, 2019

Described shouts

Has its origin in the relationship between an ancient text, (The Old Testament, fragments from Qohelet, Daniel and Isaiah) and its visual and sonorous incarnation: to embrace the words so that they become dancing and singing bodies, and in that way to draw near sounds and gestures that inhabit the most distant stratifications of the human being.

Qohelet The independence of every cell is expressed in the monologue, in the rubbing together, in the traces of juxtaposition. Two swimming-pool eyes watch, one inside, the other outside, two dimensions to which another is added when the two eyes cross, the dimension of poetry and art.
Daniel “Gunguru” logical, illogical rhythm of all your dreams. The bearded power of Nabuchodonosor, a thousand eyes for Daniel, who “looks into the nightly vision”. Assonance of rhythms and his beard falls off and Nabuchodonosor can see. The individual is revealed thanks to the other person.
Isaiah The sonorous space of Isaiah is continuous; it is space sound of the present, concerning which we can distinguish, which is fluctuating in the way of transformation. The relationship is no longer unity-to-unity, but from one to the innumerable.



SCENIC AND SOUND SPACE: GIULIANA DI BENARDO
CHOREOGRAPHY AND DANCE: NURIA SALA GRAU
TEXT AND VOICE: GHISLAINE DE MONTAUDOUIN


Creation of 1999-2000 Selected Performances:

From “Action Imageante” June 1999

In Mercado De Santa Ana, Badajoz in Spain.

From DIECI DUE International Research Contemporary Art

In the Cultural Center Bertolt Brecht, the 19 February 2000 in Milan Italy