The musicality of the gesture (improvisation)

© Tristán Pérez-Martín

 

with Federica Porello

 

date: July 13th to 16th
from Monday to Thursday, 17:30 to 20:30h

price: 90€ all the course / 25€ single session
discounts: 10% discount if you sing up for more than one course / 85€ APdC members or tragantDansa students from 2019-2020 Course

* Priority to people who sign up for the entire course / Discounts are not cumulative.
** In order to apply to the student discount, you must have attended at least to 2 trimesters at tragantDansa 2019-2020 course.
*** Limited places to guarantee hygiene and safety measures.

 

 

AREA: technique – exploration
EXPERIENCE: workshop open to different experiences and movement practices, as well as multiple levels

 

FACE TO FACE WORKSHOP with the hygiene-disinfection and security required measures
tragantDansa will prepare a protocol with to compliance with the distancing, hygiene and protection measures established in the Plan for the Transition towards a new Normality, which contemplates the reopening of Dance Schools during the Phase II.

 

 

The analogy between dance and music provides an inexhaustible amount of tools and a way to produce and read the movement that enhances creativity, precision, as well as the listening of the gesture’s voice.

We can think about the gesture as a sound, a note, the smallest fragment of a musical phrase, observing how their specific tones, dynamics, durations, volumes nourish our physical and emotional imaginary.

We will work on the different aspects of this relation through practices based on improvisation, which will allow us to place ourselves in a creative state of alertness and listening to the present:

  • the articulation of the gesture, to move from one form to the other, to explore how we move, as well as the clarity and readability of the movement;
  • the dynamics, to travel between the control and the lack of control, in the imbalance, in the suspension, to be carried away and to take the reins of the actions;
  • muscle tension, to support, to sustain, to push, to receive, to move and to be moved by the other, exploring how the variation of muscle tone causes different physical and emotional reactions;
  • the relationship, to copy the gesture of the other or compose a rhythm to more voices;
  • dissociation, to fragment the unity of the body into different parts;
  • the silence, the intensity and the importance of the pauses in the instantaneous writing of the choreographic phrases.

We will use these elements, separately and in connection, as the starting point to compose a visual music, and to experience the communicative potentials of this vocabulary.

 

 

 

Federica Porello

Dancer, teacher and creator, Federica Porello trained at P.A.R.T.S. in Brussels between 2002 and 2006. After graduating, she works with choreographer Marlene Monteiro Freitas, visual artist Anne Kathrine Dolven, the theater company Tg Stan, the puppet theater company AdonK!, the shadow theater company Le Théâtre from Nuit, and dance company ACME / Albert Quesada.

She currently works with the company Mal Pelo and ZOO / Thomas Hauert, and is a member of the Group LaBolsa and RITMO (International Network of Puppet and Object Theater). In 2013, she starts an investigation around the musicality of the gesture and the bridges between dance and objects manipulation. She presents her research in workshops and laboratories, which was the starting point for the creation of the WeWood show (2018), in collaboration with Xavi Moreno and Marine Broise.

In 2017, she receives the prize “Ciutat de Barcelona” and the Barcelona Critics Award for the interpretation of Bach, a performance by Maria Muñoz/Mal Pelo, created in 2004 and trasmissed to her in 2016. In 2019 she’s nominated for the Premio Butaca of Barcelona as best female interpreter for her performance in On Golberg Vartiations/ Variations by Mal Pelo.

 

 

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