la suerte de los cuerpos expuestos
intérpretes / alina folini / agostina dolcemascolo / verónica jordan / marcela botti / manuela aguinaga
dirección / viviana iasparra
música original / gabriel paiuk / para la realización de la música se contó con la colaboración de facundo ordoñez (contrabajo), mariano malamud (viola) y federico landaburu (clarinete) /
diseño de iluminación / ignacio riveros
fotos / nacho iasparra
diseño gráfico retoque fotográfico / iumi kataoka
producción y vestuario / [la oTra] compañía de baile
asistencia general / macarena cifuentes
contacto / laotracompaniadebaile@gmail.com / alinafolini@gmail.com
A sincere and critic look on our work.
Ask ourselves questions constantly.
Investigate from different points of view
Not knowing before what will be done
Ask ourselves questions
Investigate, expect...
I like when the work surprises me. When it makes me feel uncomfortable. When it makes myself ask questions.
Our work has three operations:
Thinking, investigating, assembling.
How to communicate something by using our body in movement as our main resource.
Our own critical positions and thoughts.
Placing the accent in working in the same aesthetic line, with a strong orientation and a great flexibility.
Pass through the body different ideas, sensations, curiosities.
Find underground ways of telling a story, always keeping ourselves in the surface.
The act of looking, of looking again, of looking differently.
Not to pretend. Work from our candor
Be observed. Be questioned
Is not a reflexive work about what the dance can or cannot do
I try to do a reflexive work on my observation of the world.
Take the world as an object and use dancing as a way to express it.
Discover.
The eye cannot see everything
The action of our thoughts
The techniques, the resources used are given by the desire of showing something in an specific way.
Not one thing, not the other.
Question the ways, question the procedures, trying not to be caught inside strict and closed shapes.
Having the idea of sucesive and different moments of the same thing, so that they imply always a different attitude.
The physical encounter with an idea.
" t don´t think the world needs me, i think that what i have to do is to look forward it´s acceptance, and only through work I´ll make it" Francois Truffaut
Viviana, May, 2008
Is the eye made of words?
The act of observing is made of sensation, vibration, of movement
After comes the Word.
Before, an image, a colour, a desire.
We can find it better in a physical and immediate layer than in a putting into words layer.
The word, the judgement arrives almost in the act, but that instant after, is already late. Belongs to the past and in a way less accurate, less essential, (less alive?)
This out of phase we suppose is the matter.
Maybe this gap is the eye.
It seems necessary to simplify and unify this layers
Is it posible?
Or it will always have an out of phase in time?
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