©2019 Ariadna Sáenz. All Rights Reserved

ESTUVIMOS TAN CERCA QUE CASI...

SYNOPSIS

 

"As soon as you closed the door, my body exploited in a desperate crying. Since that moment, I am still learning about Loss" (Ariadna Sáenz)

Is the Space hierarchical by Itself? What materials and relationships do emerge from predetermined trajectories, directions, facing orientations and distances in duetness? What does the space wanna me to do?  And what do you wanna me to do when I don't see you, when I collide you, when I face you, when you ask and you listen, when we both ask, when we don't listen anymore, when I don't understand, when we surrender, when we face each other  knowing that I face you for the last time? How to challenge habits in the relationships between sound and movement?  How can we be in a "I STILL AM" relationship?

This is an improvisation-based work that questions inherent physicality of the Space and Relationships between Sound and Movement . Space is controlled, fixed, regulated. It is configurated as a metaphor of Human Encounter, Exchange and Separation. Both Movement and Sound are not prescribed but arise from noticing it and the specific defined relationships between these motional bodies. This a choreography and musical composition of Perception, Attention and Relation in Time and Space.  1. the role of the musician for sonically appropriating the space through sound and for embodying timbrical properties of an instrumental physicality derived from being in motional contact. Moreover, this piece looks for the musician's engagement in the question of: What techniques/strategies emerge from playing in movement? Do the motional action transfers physical properties to the sound? How much different is playing in a spot, a specific facing and without an interactive relationship from playing in interacting movement? 2. the elimination of hierarchies between Movement and Sound and 3. potential relationships between Sound and Movement that again re-affirm the independency of both forms. In terms of choreography, it tries to find new ways of duet-ness, intimate while allowing independency and polyphonic action, and human connectivity through a tracking process of "the other" . But, fundamentally, this piece speaks about barriers and tensions that emerge from the human desire and effort of fusing, synchronizing with another body and its impossibility.