Who knows what ?
In a duo, everything is possible, from the reality to the imagination. We b=
egin for example, to investigate the bare reality of a place which can be i=
nside or outside, by dance and music we penetrate this real space which has=
its appropriate life, following the way it is built, lived, represented. W=
e can also play with furniture and objects of the place, fix them to-gether=
, transform them into sculpture, totem . Dancer and musician settle a rite =
which is the history of the place, but also a poetic change of situation.
By playing, they lay themselves emotionally bare, connected to the mo-ment,=
the accidents, the breaks or aberrations of energy, emotion, the games wit=
h objects, materials, suits, make-up. The sweat of dancer and musician defo=
rms or models the scenic, musical, poetic subject. Natu-rally, there is som=
e humor in all this, because the body precisely has its limits. The risk, w=
hich we begin to play with, is internal, intuitive; it does not demonstrate=
itself, it is on the surface of skin, of soul; just a con-versation betwee=
n musical instruments (piano, clarinet, feedback, trum-pet, snare drum, har=
monica), voices and moving bodies.
Positively we are fond of adventurous chaos like improvisation. But J. Cage=
was the wisest man; for him, if we try to make the world better, we can wo=
rsen things. So if we worsen things by opting for disorder, may we become b=
etter ?
Ly Thanh Tien Claudio Parodi
available on demand
contacts:
Claudio Parodi
Via Trieste 46/23
16043 Chiavari (GE)
Italia
tel. +39 0185307740
mobile +39 3290276077
e-mail: [email protected]
Who Knows What?
-
Type: discussion
Comments
Who knows what ?
In a duo, everything is possible, from the reality to the imagination. We b=
egin for example, to investigate the bare reality of a place which can be i=
nside or outside, by dance and music we penetrate this real space which has=
its appropriate life, following the way it is built, lived, represented. W=
e can also play with furniture and objects of the place, fix them to-gether=
, transform them into sculpture, totem . Dancer and musician settle a rite =
which is the history of the place, but also a poetic change of situation.
By playing, they lay themselves emotionally bare, connected to the mo-ment,=
the accidents, the breaks or aberrations of energy, emotion, the games wit=
h objects, materials, suits, make-up. The sweat of dancer and musician defo=
rms or models the scenic, musical, poetic subject. Natu-rally, there is som=
e humor in all this, because the body precisely has its limits. The risk, w=
hich we begin to play with, is internal, intuitive; it does not demonstrate=
itself, it is on the surface of skin, of soul; just a con-versation betwee=
n musical instruments (piano, clarinet, feedback, trum-pet, snare drum, har=
monica), voices and moving bodies.
Positively we are fond of adventurous chaos like improvisation. But J. Cage=
was the wisest man; for him, if we try to make the world better, we can wo=
rsen things. So if we worsen things by opting for disorder, may we become b=
etter ?
Ly Thanh Tien Claudio Parodi
available on demand
contacts:
Claudio Parodi
Via Trieste 46/23
16043 Chiavari (GE)
Italia
tel. +39 0185307740
mobile +39 3290276077
e-mail: [email protected]