(Creation Residence )
L'animal a l'esquena (Celrà)
From 01/06/2010 to 06/06/2010
Presentation :
On 05/06/2010 at 18:00 in L'animal a l'esquena (Celrà)
Gruppo Nanou
During the horse's gallop there is an instant when all of its legs are lifted from the ground, and not in the position of complete extension.
The body, seen in its entirety, as an instrument of creation, plays the main role.
With the idea and the need to search for a complex and layered theatrical language able to rewrite time and space and to alter perception, the Nanou group shares their own specific characteristics and tackles a practice, based on the languages of 'stage relations', referred to in film editing as a practice of synthesis for a miscellany of instruments without any hierarchy.
Body, text, sound and lights are detected and used as linguistic access to the composition of the stage action; they become terms that are continually able to shift the significance of the action.
The language of each element does not want to shape and / or emphasize the action already in place; nothing exists in the 'service' of the other anymore. All instruments are displayed in the composition, because all are engaged with something in between, in relation , outside itself, and never subordinate.
Since its beginning the Nanou group has been working on the meaning of time as a perceptual loss, by conquering again the value of "time" that flees the value and the cadence of "rhythm". This work has led the company to face the loss related to space and to focus on the perspective quality of the scene, besides its "temporality" development. Perspective understood as the placing of the action and the scene in relation to its depth – geometric perspective, that constitutes a set of future circumstances that can be foreseen from a dramaturgical point of view. To proceed towards a perspective agitation, towards the creation of a temporary loss of perceptual lucidity through the concepts of out of scale, of production and reproduction of the performative elements capable of grabing the slight detachment from the real which makes me again dive with even more violence into reality.
L'animal a l'esquena (Celrà)
From 01/06/2010 to 06/06/2010
Presentation :
On 05/06/2010 at 18:00 in L'animal a l'esquena (Celrà)
Gruppo Nanou
During the horse's gallop there is an instant when all of its legs are lifted from the ground, and not in the position of complete extension.
The body, seen in its entirety, as an instrument of creation, plays the main role.
With the idea and the need to search for a complex and layered theatrical language able to rewrite time and space and to alter perception, the Nanou group shares their own specific characteristics and tackles a practice, based on the languages of 'stage relations', referred to in film editing as a practice of synthesis for a miscellany of instruments without any hierarchy.
Body, text, sound and lights are detected and used as linguistic access to the composition of the stage action; they become terms that are continually able to shift the significance of the action.
The language of each element does not want to shape and / or emphasize the action already in place; nothing exists in the 'service' of the other anymore. All instruments are displayed in the composition, because all are engaged with something in between, in relation , outside itself, and never subordinate.
Since its beginning the Nanou group has been working on the meaning of time as a perceptual loss, by conquering again the value of "time" that flees the value and the cadence of "rhythm". This work has led the company to face the loss related to space and to focus on the perspective quality of the scene, besides its "temporality" development. Perspective understood as the placing of the action and the scene in relation to its depth – geometric perspective, that constitutes a set of future circumstances that can be foreseen from a dramaturgical point of view. To proceed towards a perspective agitation, towards the creation of a temporary loss of perceptual lucidity through the concepts of out of scale, of production and reproduction of the performative elements capable of grabing the slight detachment from the real which makes me again dive with even more violence into reality.
