An adaptive spatial play in 5 multiple entry Acts
As in Julio Cortazar's eponymous novel, Hopscotch has multiple entries that build distinctive sequences according to the choices of the lector - in our case the inhabitant of the space.
In its core version, that could be infinitely complemented, it has a structure of 5 architectural modules, or Acts.
Those modules share their base size and common levels of access, allowing equal assembling and motion between them.
Each has a minimum of 2 Entries and Exits, offering a variety of space sequences.
The subject is not a user of the space. S.he doesn't consume it, but interacts, embodies, and leads the environment through actions and behaviours, in a symbiotic exchange.
It results in a spatial performance where the subject receives information while engaging entirely within it. Becoming actor, spectator, and director of the performances.
Those mouvements involve the Macro-scale, when affecting how the modules are assembled, the scale of each singular space, until the one of the body itself.
Transformations engage a diversity of experiments, including motion, sound, lighting, music, screening, pulsations, shadows...
If Subject heartbeat reaches 110 pm,
Then Move to Module Sound's Shadow Theater
If Subject Climbs in Sound's Shadow Theater's Lantern
Then Play Gymnopédie n°02 by Eric Satie
If not change poles plan drawing
Else project light from floor platform
If subject Facial expression is Smile
Then give way out at 15 m Height
Else give way out at 5 m Height
If subject doesn't find way out of Mase within less than 75 seconds
Then change combination
If subject walks at pace > or = to 3km/h
Then Move toward module MetabolisMase
Else Move toward Vertigo
If subject lays down - Turn 90 degrees clockwise
If subject crowls Slide the ladder position laterally to the rhythm of Subject Breathing
If subject dives in ball pool Screen Fellini's La Dolce Vita
If subject enters at Level 5 meters Play Vertigo Theme And Loop mesh in continuous wave for 135 seconds
Bodies on stage
A drawing series of bodies as choreographed by Crystal Pite for the show Body and Soul at L'opéra de Paris in December 2019.
A pre-recorded text read by actress Marina Hands, is played as an in stage direction.
She describes a conflict between two figures. The same text is repeated many times, always using the exact same words.
Depending on how the dancers embody it, the meaning of the text changes.
Drawing 1-3 Leonore Baulac & Hugo Marchand Duet
Drawing 4-8 Conflict
Le plafonnier s’allume d’un coup, révélant deux figures dans une petite pièce.
Figure 1 est étendue au sol.
Figure 2 fait les cent pas.
Gauche Droite Gauche Droite Gauche
Droite Gauche Droite Gauche Droite
Ses mains bougent sans cesse, touchant son menton, son front, sa poitrine.
Gauche droite gauche droite gauche
Son cou, sa bouche, sa hanche
Droite gauche droite gauche droite
Front menton cou hanche poitrine tête bouche
Les deux mains sur les genoux
Figure 2 s’arrête, tête baissée
Figure 1 se retourne, bouge les épaules, la tête, les pieds. Se retourne de nouveau, s’appuie sur un coude, tête baissée.
Tend le bras pour atteindre figure 2, qui reste immobile.
Figure 1 tend le bras de plus belle, relevant légèrement la tête,
Aucune des deux ne bouge.
Soudain Figure 2 se cabre, d’agrippant la tête, la bouche ouverte,
se tord, s’abaisse, se déplace latéralement vers figure 1 qui déjà s’éloigne.
Figure 2 rattrape figure 1 et la retient,
et la retient.
Finalement, Figure 2 bouge la tête, les mains, les pieds.
Déplace Figure 1 pour que toutes deux soient tête à tête, tête contre poitrine, tête dans les mains, tête au sol.
Aucune des deux ne bouge.
La lumière du plafonnier vacille et s’éteint.
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