(Creation Residence - Associate Project 2020 )
L'animal a l'esquena (Celrà)
From 27/07/2020 to 08/08/2020
Federica Porello
( Federica Porello, Xavi Moreno )
The Sensory Side of Things is an investigation into the pairing of fragmentation and articulation, applied to thought, movement and other “Things” that make up the identity of a performance piece. The project is driven by a desire to share, in the creative journey of a solo, in interviews and laboratories, the questions that arise from the theoretical and physical territories crossed in the composition of a piece of work.
Over the past 15 years I have lived through some 30 creative processes, with different teams, different performance languages (dance, theatre, shadow and puppet theatre, theatre of objects), in different roles (as performer, creator, assistant director) and for different periods of time (between a few hours and four years). I have always been aware of the intensity and richness of these fractions of time shared in these micro-societies, in constant search of a balanced way of working and feeling the push towards the moment when the piece will be performed to an audience.
This kind of journey means confronting various types of questions, both collective and individual, constant decisions to be taken, whether more or less intuitively, as a group, efficient or coherent, that go to make up the identity of the creative organism and finally of the work itself.
L'animal a l'esquena (Celrà)
From 27/07/2020 to 08/08/2020
Federica Porello
( Federica Porello, Xavi Moreno )
The Sensory Side of Things is an investigation into the pairing of fragmentation and articulation, applied to thought, movement and other “Things” that make up the identity of a performance piece. The project is driven by a desire to share, in the creative journey of a solo, in interviews and laboratories, the questions that arise from the theoretical and physical territories crossed in the composition of a piece of work.Over the past 15 years I have lived through some 30 creative processes, with different teams, different performance languages (dance, theatre, shadow and puppet theatre, theatre of objects), in different roles (as performer, creator, assistant director) and for different periods of time (between a few hours and four years). I have always been aware of the intensity and richness of these fractions of time shared in these micro-societies, in constant search of a balanced way of working and feeling the push towards the moment when the piece will be performed to an audience.
This kind of journey means confronting various types of questions, both collective and individual, constant decisions to be taken, whether more or less intuitively, as a group, efficient or coherent, that go to make up the identity of the creative organism and finally of the work itself.
