“Performing Geometries” research explores the performative and dramaturgical potential 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.
PERSON IN CHARGE:
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 research is engaging in the performative and dramaturgical potentiality of visualising regular Euclidean shapes in performance, through dancing practice. My practice is combining formalism, minimalistic repetition and a physical impossibility for the dance to keep being performed ad infinitum in physical space.
Geometry is often related with mind operations, while dance with body operations. My research is aiming at finding a performative and dramaturgical way of coupling geometry and dance, which manifests a constructive understanding of geometry as an embodied and sensorial experience and of dance as a mindful and thinking process.
Three of the regular shapes have been selected for exploration, the equilateral triangle, the square, and the n-angled regular polygon (perceived as the never-met circle). Each one of them is forming a different case study of my research on regular shapes. The first case study on the square (2018-20) has been delivered in the formats of a live performance (2019) and a dance film (2020). The other two shapes are yet to be explored.
Performing Geometries research is making explicit how fundamentally different the two inseparable, creative mediums of processing information, the human body and mind, are. My research shows that we cannot take body-mind togetherness for granted during the dancing praxis. Instead, it is revealed that both the body and the mind are always operating within their limitations, conditioning both the dance and the perception of it.
My artistic research is conducted through Practise-as-Research methodologies. The mode of performance identified so far has led to the embodiment of the square shape, translating, qua kinaesthetic empathy, its structural properties, somatic and mental effects into dance. Furthermore, my practice of the square has shown that a formalistic, minimalistic and repetitive practice, predetermined to fail in physical space, has the potential to transform the original ways the form of space (the square), the movement (the dance) and the notion of “failure” are perceived.