• Photo

Sidney Leoni : Undertone

Undertone is a choreography that focuses on the potentials of sensory perception of the audience. Stemming from the interest to challenge spectatorship and destabilize the convention of watching performance, Undertone invites the audience in a complete dark space to participate in an orchestration of fictional spaces. Hereby, the performance prioritizes mechanisms of perception other than vision by proposing an immersive experience of different kinds of stimuli.

Read more

In Undertone, the body of the audience members is considered in all its potentiality to sense and navigate within an environment composed of a large spectrum of sensory movements such as tastes, sounds, smells, temperature fluctuations, touches, and ephemeral scenographies.

www.undertone2012.wordpress.com

Statements on the making of the piece Undertone

1. To remove spectatorship and destabilizing known ways of “watching" performances.

2. To engage the audience and the performers as active members of a collective event.

3. To propose in/audible stimulations, smells and interactive physical contacts in order to create performance as a situation of sensory stimulation and experience.

Few principles on how to treat and divide the sensorium:
- To cancel one/several sense(s) in order to enhance other(s).
- To emerge, submerse, dis-locate or amplify in the space sensory agents such as: sound, smell, light and other ephemeral scenographic materials.
- To mix, enhance or cancel declensions of one same sensory agent under sub-divisions such as: artificial/natural, subtle/overcharged, pleasant/unpleasant, analogue/digital, passive/active, static/transformative, personal/collective, …

4. To aim for subtleties that would be coupled with an overcharge, in order to make tiny little things going on in the theater space to gain an impact, which would be incongruous to their “size" or “weight", as an intertwinement of perception. (Petra Sabisch)

5. To venture into situations where the notion of Individualism merges into the one of Community, and vice-versa.

6. To explore social situations which bring about sensible encounters between strangers. Something related to secrecy, social awkwardness and unspoken rules of behaviour. That is where one has to acknowledge her/his behaviour while taking part of the situation. (Bojana Cvejic)

7. To not be able to totally pre-determine what is going to happen in the space and how people will behave and interact with each other.

8. To stir the spectators into a zone that is never fully comfortable and certain without however being the opposite.

9. To produce simple but specific tasks for performance making in order to transmit this choreography to a large amount of performers within a short time frame (with the use of a score).

Side Effects

×

Side Effects

research

Bernard Van Eeghem & Dolores Bouckaert receive research grant from the Flemish Government

Bernard delves deeper into Fernando Pessoa's Ode Marítima by researching how this epic poem can be translated into (moving) images. During her research, Dolores invites fellow artists to encounter her and props from previous pieces, guided by Martha Nussbaum's acclaimed work The Fragility of Goodness: Luck and Ethics in Greek Tragedy and Philosophy.


supporting action

Charter for the stage artist

A statement of solidarity between artists who agree to no longer accept un(der)paid work in public activities that take place at or for organizations with fixed-income employees.
>>> handvest.org