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Catexis

Creation:

» Muriel Romero y Pablo Palacio

Location: Madrid > Spain

Artistic and technical sheet:

Conception: Pablo Palacio / Muriel Romero
Choreography and performance: Muriel Romero
Music composition: Pablo Palacio
Lights: Muriel Romero y Pablo Palacio.
Motion Tracking: Pablo Palacio.
Film realization and edition: Pablo Nieto
Supports: Universidad Alcalá de Henares, La Casa Encendida and Comunidad de Madrid, Cervantes Institute



Premiere date: 2009



Lenght: 40 min.





Comments

A gestural trilogy
Catexis is the second part of a trilogy centered on the analysis and development of the interaction between sonic gesture and dance gesture. Catexis is constructed upon sound transformation of phonemic gestures emitted by the dancer that constitute the germ of dance motion itself. The piece explores the existence of a natural morphology present in certain phonemic objects, this means that the physiological activity of the vocal tract involved in its production is analogical to the described phenomena in the “real world”. The motion of the organs in the vocal tract (uvula, velum, larynx, tongue, teeth, etc) conform a miniature choreography which is amplified through dance motion and sonic transformations diffused in a multichannel loudspeaker array.
The piece has been created with the support of an Scholarship for the Creation and Development of Scenics Arts of Comunidad de Madrid.
The first part is Acusmatrix, and it is based on sonic transformations of european birdsong moving and interacting with the dancer in a three dimensional sound environment. Acusmatrix was created under a period of residence established between La Casa Encendida, Alcalá de Henares University and Cervantes Institute. The project is also supported by Cie Gilles Jobin.

Formal and theoretical aspects
Catexis is an interactive creation for one dancer and sound design in eight channels. The focus of the piece lies in the correspondence between dance gesture and sonic gesture. The piece concretizes the attempts of Rudolf Laban of making a three dimensional geometric and morphodynamic analysis of dance motion, placing the dancer in a virtual space of cubic proportions. Following this line of thought Catexis places the dancer in a three dimensional sound space interacting with sonic objects that are successively transformed according to their trajectory and dynamic morphology. Catexis is constructed upon digital transformations of phonemic objects emitted by the dancer that operate as a sonic bio-extension of her body motion. Each phonemic gesture constitutes the sonic and dance seed of each scene. The objective is to suggest an analysis of the natural morphology of certain phonemic objects through sound transformations and dance motion considered as an extension of the physiological activity of the vocal tract involved in phonetic production.

Scenes and phonemes
Each scene develops one or several of the basic efforts proposed by Laban. This development is actually an expansion of the phonemic gesture that constitutes the sonic and dance seed of the scene. The objective is to suggest an analysis of the natural morphology of certain phonemic objects through sound transformations and dance motion considered as an extension of the physiological activity of the vocal tract involved in phonetic production. Three of the scenes depart from phoneme ‘s’, this is because the ‘s’ is noise, that is, its spectra contains sonic information in all frequency bands, so it is a great source of energy or initial impulse to the motor activity of dance and sound.

The video contains five scenes of Catexis :

1-'cl-, -ng': Phonemic objects ‘ping’, ‘pang’, ‘cling’, ‘clang’ and ‘clong’ are successively transformed in percussive and elastic objects that shake (flicking) and dissolve (floating) in different sonic and dance entities.

2-'spr-': The chaos of frequencies comprised in ‘s-’ (thrust) passes trough a constriction ‘p-’ (press) and then is fragmented into the iterative morphology of ‘r-’ (wring). This phonemic sequence appears in several words referred to a similar natural morphology such as ‘spread’,‘spray’ or ‘sprout’.

3-'multiplex’: The motion of the dancer thrusts and controls the position in space of masses of vocal sounds that are gradually transformed in a water texture. This texture is finally reduced to a crystal grain of sound controlled by the motion of the eyelids.

4-'sl-': In this case the stored energy in ‘s’ is gently released via sliding the tongue over the alveolar surface inside the mouth. Afterwards, the vowel ‘a’ is sustained and dissolved into a cloud of glissandi that swing and slide more and more violently.. This gesture is transmitted to dance motion in the shape of continuous slide (gliding) of limbs moving between light and darkness, specialy when some sonic fragments that come out from the texture “affect” the equilibrium of the dancer.

5-'st-: Sudden interruption of the motion or energy stored in ‘s’ by a rigid and vertical posture. This posture is suggested by the downward motion of the tongue against the teeth in ‘t’. These sensation is enhanced trough spectral freezing of the word ‘stop’, algebraic rhythms that collapse and the blocking of the limbs.

>> Further information in pdf

>> Press and playbills

 

Vídeos de Catexix

>> Video 1. Excerpt. Catexis

>> Video 2: Excerpt. Motion Tracking

>> Video 3: Excerpt SL

>> Video 4: Excerpt ST





Documents
catexis.pdf

catexis-english.pdf

Catexis_Prensa_programas.-b.pdf


Foto: Gerardo Sanz

Foto: Gerardo Sanz

Foto: Gerardo Sanz

Foto: Gerardo Sanz

Foto: Pablo Nieto





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