INFO

EINSTEIN – THE DARK MATTER is the third stage of Ergo Sum, a three-year project dedicated to great thinkers who explored the concept of existence – Montaigne, Leonardo and now Einstein. Raphael Bianco’s choreographic research goes beyond the physical and, inspired by Albert Einstein’s disorienting and brilliant intuitions, probes the very concept of reality through an articulated work of choreographic deconstruction linked to the evolution of spatial geometry in continuous transformation. At the basis, a process of capturing the sound generated by the dancers in real time – body, breath, voice – thanks to specific sensors by the artist and musician Andrea Giomi. The use of interactive technologies plays a central role in EINSTEIN – THE DARK MATTER, influencing both the choreographic writing of the gesture-sound relationship and the formal structure of the work. The dancers' movement is translated into sound feedback thanks to the use of three different types of sensors: inertial, worn by the main performer, which capture physical parameters such as the speed and acceleration of the gesture; bio-feedback, in particular a sensor capable of capturing the performer’s breathing; video cameras, to analyse the position of the dancers on stage. The variety of techniques used has made it possible to develop three different approaches from the point of view of gesture-sound writing: the first linked to the performer’s body, which becomes the creator of sound creation in real time through its gestures; the second to the relationship between the dancers themselves and the stage objects, thanks to sensors applied to the geometric elements of the set and activators of a polyphonic writing; the last, to the environment itself which, in the final part of the performance, becomes “sensitive” to the trajectories performed by the dancers, stimulating collective creation. Although interactive technologies have been used in choreography for some years now, in EINSTEIN we find an element of strong originality thanks to the data captured from the movement of the performers, processed to create an acoustic image of the gesture, a sound impression. Sound enhances the communicative dimension, both on stage between the performers and in the auditorium in the relationship with the audience. On the one hand, the sound image allows the performers to grasp the movements of the main dancer through listening, on the other hand it amplifies the projection of the gesture and enhances the empathic response of the spectators.