EXPERIMENTO 5, Sofia Fitas, Portugal / France
EXPERIMENTO 5 , Sofia Fitas
Conception / Creation: Sofia Fitas
Music / Voice: Sébastien Jacobs
Performers: Sofia Fitas & Sébastien Jacobs
Light Design: Anna Tubiana
Costume: Lucie Duranteau
The seemingly headless figure appears in an aura of light flooding the stage at eye level with the audience. In front of us there are bare human backs, and absolutely nothing allows us to determine their gender or origin. What does this body of severed upper extremities represent? It represents the human substrate in discord with the actual parts of the body that urgently need to be rearranged. Two hands, impressively strange because they occupy the space on both sides of the neck usually reserved for the skull, will engage in superhuman contortions whose dimensions will be intentionally enhanced by the mixing of live cacophonic voices. Instead of music, the space and stage are dominated by a sonic envelope bordering on eardrum implosion. Left to themselves, the hands tear apart an invisible head in disproportionate exaltation, and the illusion is complete. Before being engulfed by the exhausted silence, the scene plunges into darkness.
The second image reveals a being kneeling, black hair spread across the ground hiding the head from our view. Before us is a new bare-handed and merciless struggle, a powerful, majestic choreography masterfully performed by Sofia Fitas in an attempt to reassemble the fragmented body.
Music: The sound in this performance is developed from the voice of Sébastien Jacobs, present on stage. The voice as a form of intense and powerful communication and expression of the body. A voice of joy, sadness, pain, happiness, anger, melodic and harmonious, a voice of order and disorder. The presence of the voice, articulated and structured with the body’s voice, allows us to sense the existence of different bodies and other beings. The exploration of the multiple possibilities of using and expressing voice and sound was done in parallel with the exploration of movement and choreographic notation. They interact and influence each other.
With the Support of the Calouste Gulbenkian Foundation.
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