Mutating score

The show is conceived as a hybrid choreographic project, presented in the form of a structure which the public walk through. The composition process of this new project explored the possible relationships between dance, music and technology.

“Mutating Score is conceived as a hybrid choreographic project, presented in the form of a structure which the public walk through. The composition process of this new project explored the possible relationships between dance, music and technological tools. Until now, we have been interested, along with composer Andrea Cera and video director Vincent Bosc, in using technology during the production process of the work. This time we have chosen to integrate it into the real time of the performance. It interacts with the dancers or the audience and so participates in different emotions and musical or visual mutations. The constantly evolving drama turns around three choreographic episodes worked on during the year 2004: Wave 01, Vaguely Light and Erasing Territory. The resemblance to a musical score of these three forms reveals a certain poetic tension which is inspired by waves and lightness. The particuliarity of the physical, musical, visual and even sculptural material invented during these three research and creative experiments, are to be found at work in the development of Mutating Score. This project investigates in generic terms the nature of how space is occupied, what is shown and represented, the ingredients which make up and transform it; but also, the place of the audience and its possible role in the construction of the story.

My rapport with new technology…

It is probably in exploring the role of the audience, and the relationship which this generates with the work, that technology has a part to play in new design experiments and in offering avenues of research.

By imagining the performance as an ecosystem, where the audience member is one of the constituent and active elements of the whole, a novel relationship between the audience and the work is created. In effect, requisitioning the performance area, one’s interpretative and representative role, restores to the individual the capacity to be involved in and write an account of the event. This also obliges us to restructure the performance space, to reconsider how long the show needs to be, to have on stage at the same time confrontation, appropriation and transformation. A new object is forged and a new mutation comes into play. In such a setting, there are probably a number of technological tools that could be used, and others might need to be invented. My concern is that they should be used as a basic constituent of the nature of the artistic aim, and that they suggest possible new and sensitive links between the individual and the group.”

Source: Hervé Robbe