ssolo (2005)

Cristina in a soft blouse, speeding scrupulously, quite, s senza paura, a middle-aged dancer’s solitary swindle.

Parallel with big projects and productions involving many dancers and collaborators, Cristina works within the self-contained territory of her own dancing, in the open emptiness of the studio. She works alone, focussing on a few ideas and with plenty of time to spare. She specifies the habit and deviates, collects, select, follows and resists: without pretexts, without timidity.

Words and graphic landscapes keep her company. Pounding pop-funk-house music keeps the pulse alert.

And for the public an unusual insight in a dance(r)’s biography.

“What I do is just what I do.

Beyond social-political, symbolical and metaphorical interpretation of movement I may find the dance in its vibrancy of presence, nerve and e-motional investment. It will be personal, undone, immediate and real.

And bound to structured form.

I have been working on selecting series of complex movement-phrases which convey a large amount of information but do not travel in space. I have worked primarily with time and technique, consciously avoiding conventional dramaturgical development, yet concerned with how things are presented logically and sequentially readable:

towards a narrative without tale. And yet meaningful.

I have moved away from special/geometrical references and towards the idea of dance as logic of physics in motion (physiology), and I have used trigonometry and infinite calculus as adductive, productive approaches.

Not geometry, mathematics and space, but time, thrust, acceleration and traction, calculations and weight distribution. Hence a new interest in sinus, cosinus, trajectories, curves and the three dimensional fencing created by two segments crossing at a 90 degree angle. Interests who also inform the algorithms generating the digital imagery.

Pas un’ image juste, just un image (Jean-Luc Godard)

I have felt the desire to enter the stage and let people ‘see’ me moving, alone, but in (inter)relation to digital grids of lines, words, alphabet letters, and sentences. I wanted to ‘see’ the dance act as stimuli for digital argumentation.

And then fearlessly swing along phantasmagorical high tech landscapes.”

cc November05/May06

by and with Cristina Caprioli
music FunkWelten
digital imagery & programming Panajotis Mihalatos
projections technique Henrik Svensson
lights Tobias Hallgren
stage management & technique Björn Eriksson
12 pieces in 60 seconds (compressed footage): cc/vv
producer carina norée
production assistant Julia Sundberg
choreography assistant/dance coach Anna Grip
thanks to Jens Sethzman and Dramaten

premiered November 2005 at MDT, Stockholm