Composition | Performance
Sub’s music comes out of a complex system of radios, hi fi, loudspeakers and subwoofers, Radios are antennas capable of picking up the invisible and travelling through time and thoughts. They clash the tangible and invasive sound density of the music, which is declined instead in the present, without compromise. The choice of this mixed and fragmented diffusion system is not at all neutral and informs the performance in its structure and composition. So, a sort of a sound meteorology takes place, interrupted by electronic music, sometimes fragile and sometimes very aggressive; a world with its own rules that the performer lives, with her own rules.
Sub is a project born from a dialogue with an exceptional interpreter, a long-time member of the William Forsythe Company, who produced a solitary and spherical dance based on choreographic information received via e-mail, together with the music. Thus, it speaks of the creative responsibility of the performer in relation to language and the taking of space.
The fragility of this action is programmatic and occurs directly on stage; it requires a different kind of grammatical wisdom, i.e. the pure ballistic and evaluation of an ongoing activity. The body is a bullet launched into space, who meets a friction coming from afar, asking for continuous diversions of power. Technically neither a show nor a structured impro, Sub is a hybrid object, consisting of a long exposure of the body, who is prey of an on stage experimented syntax. There is no rehearsal, just a public performance to be waiting for every now and then.
Such an organism evolves over time, accumulating new information and deleting other, playing a physical bewilderment that requires contact with the audience to distance itself from any sort of metaphor.