Performing Geometries (2019-ongoing)

“Performing Geometries” research explores the performative and dramaturgical implications of dancing repetitively on, in and in relation to each of the three ideal Euclidean geometrical shapes (square, triangle, circle), while infinitely reducing their scale in space.

more about “Performing Geometries” research

PERSON IN CHARGE:
SOFIA KONDYLIA
RESEARCH mentors:

DR. JOÃO CERQUEIRA DA SILVA JUNIOR [artez university of the arts, master of theater practices, ARNHEM, THE NETHERLANDS]

VASILIKI BACCA [CHOREOGRAPHER, “AKTINA” HIGHER PROFESSIONAL DANCE SCHOOL, ATHENS, gREECE]

“Performing Geometries” is a practice-based research project, engaging in the performative and dramaturgical potentiality of embodying ideal, Euclidian shapes (square, triangle, circle) through dancing on, in and relation to fractal-inspired structures, that is, an infinite repetition and change of the form’s scale in space. In this phase (2018-2020), the research focuses on the square, taking it as a case study for identifying a performing method leading to the embodiment of it, by translating its geometrical attributes, somatic and mental effects into dance.

It has been argued in phenomenological discourse that “pure truth” can be experienced only through geometry (Husserl, 1989). In architecture, each ideal shape has been assigned with different spatial qualities, functions and dramaturgies and archetypical structures are used according to spatial dramaturgies. In art, ideal geometry has been practiced both in Bauhaus (1930s), as well as in minimalistic choreography (1970s-80s).

To my extent of knowledge, dramaturgies of embodying ideal shapes through performance and dance improvisation are yet to be invented and developed.

Expanding on the above, “Performing Geometries” research speaks about the quest for the impossible, the unexplainable and/or the ideal, the potential for self-transformation through failure, about limits between human body and mind, and, more importantly, about a kind of freedom created in and throughout fixation to form and structure.

In a long-term run, the research is pointing to the creation of a method based on and arising from ideal shapes embodiment, bringing the body and the mind of the dance practitioner in perfect harmony in and throughout the act of dancing. Furthermore, this method might show potential for more general applications on dance improvisation and composition, other time-based arts, architectural design, as well as for science and posthuman theoritical discourse.

* “Performing Geometries” research is ongoing. During 2018-2020 it was held within my attendance of Master of Performance Practices, ArtEZ University of the Arts, Arnhem, the Netherdlands, with the valuable contribution of my peers, teachers and mentors.