Strata takes shape on the principle of interaction between all the elements of the device: the sound, the light, the scenography, the presences, the places… I call device the system of relation between all the elements put in play for the composition of the project and its relation to the public. Strata seeks to question the spectators in their perception.
The scenographic principle, based on the elastic behavior of its structure, takes inspiration from the void sculptures of the American artist Kenneth Snelson of the late ’50s in full ferment innovating between pop art, minimalism and conceptual arts. It will also allow the use of morphogenesis fabrics that, with a shape memory, will interact with the movements and the contact. This imprint of the movement left on the texture of the membrane will constitute a layer of the composition of the image on stage.
It will also be, like a musical instrument, the source of sound. The setting up of a system to capture the sounds produced by the movements will be the main thread of the sound research: all the touches and the contacts will become perceptible.
The use of membranes for the projection, the reflection of lights and shadows and the deforming fabrics, constitute strata of visibility. They are drawn and superimposed to confuse the limits between internal and external space, to mix internal visions with images of the external world.
In the new version the spectator’s place will be more fluid, he will be able to circulate between the installations and inhabit the two choreographed spaces. Strata.2 is a journey that questions support, instability and fragility.

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