AXIS SYLLABUS
REAL TIME COMPOSITION
PLAY - FIGHT
FREY FAUST
FRANCESCA PEDULLA '
BARIS MIHCI
NUVOLA VANDINI
The first three Workshops are centered on the study of archive tools.
The workshops offer the opportunity to study with 4 teachers, bearers of different visions and adaptations on the same instruments.
The 4 My Walkable City workshop takes place in the second quarter and introduces the possibility of applying the tools to creative research, through the logic that underlies the AS archive.
CLAUDIA DIAS
This is a training workshop in the area of Improvisation and Composition that uses the Real Time Composition Technique (CTR) as a theoretical-practical tool.
CTR is a technique born in the context of contemporary dance that, going beyond the boundaries of performing arts, has become a method of research on ways of meeting. The purpose of its use is always the collective and the other. In this sense, despite being applied in the context of art, that is, in an aesthetic context, its use is ethical. It aims to help make assertive decisions, that is,
appropriate to the context, in the sense of the survival of collective action. Applied in the artistic context, CTR is still a working tool to deal with the unknown, with what is to come, since in this practice there is no pre-defined
script. In this sense, it can be understood as an improvisation technique, although it goes far beyond this categorization. This technique is fixed by a system of thought and an operating mode constituted by a set of tools. The operative mode, ie its practice, is structured
from a spatial, temporal and functional framework and is supported by guiding principles.
BRUNO CAVERNA
"The inability or unwillingness to tap into the very source of the fear of falling may be an everlasting limitation in embodying the skills of preventing the falling injuries. Overtime the inner oblivious resistances will gradually surface and becomes more visible and sculpted on the bodies as it ages. It is natural to the bodies to lose their original fluidity quality, malleability and elasticity, however, there is whole another level of bodily crystallization and rigidity that has nothing to do with the natural way the body ages. Neglected inner resistances oftentimes pave the way for the aging bodies to become physically dysfunctional in many ways. Confronting our fears of falling earnestly may become a doorway, the first tangible step that allows us to have a taste of our untouchable inner resistance, which is a massively complex and sensitive yet a topic that carries the potential to be profoundly transformative. Resistances are our blind spots, and avoidances and self-deceptions. To cast light into these obscured landscapes asks a courageous gesture to embrace our vulnerability at the most. The practice creates fertile ground embody important reflections upon certain the source of self-imposed limitations that oftentimes are concealed under the conscious radar"
[ testo tratto da FormlessArts web-site]
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