"A "VISUAL MACHINERY" not unlike Charlie Chaplin's Modern Times."

Sebastien Varveris, JOURNALIST

D-COMPO 2.0

"From scientific lab to fantasy lab"

Mélanie Huchet, JOURNALIST

Transnomades-2013_spamm-be_iframes_Jacques-Urbanska

D-COMPO

MOBILE AWARD

“ART(S) & NETWORK(S)” – NEW EMERGING PERFORMANCE

transnomades 2013 – Fédération Wallonie-Brussels.

THE D-COMPO 2.0 PROJECT IS A LIVING TABLEAU, AT THE MULTIDISCIPLINARY, NARRATIVE AND CHOREOGRAPHIC CROSSROADS OF VISUAL ARTS.

PRESENTATION

DESCRIPTION

The originality of this hybrid and interdisciplinary creation is based on the FRAGMENTATION, the defragmentation, the segmentation and the tangible association of the elements which constitute its essence.

D-COMPO 2.0 is composed of different fragments that rely on the use of various elements:

PHOTOGRAPHY,
VIDEO-MAPPING,
DANCE
and PAPER SCENOGRAPHIC INSTALLATIONS.

With explicit references to Frankenstein and Dr. Jekyll and Mr. Hyde, D-COMPO 2.0 evolves into a story where the line between the real and the unreal is blurred by an elaborate video device… simply pure dance… a choreographic vision that touches the uninitiated as well as the experienced. A “VISUAL MACHINERY” reminiscent of Charlie Chaplin’s Modern Times. François Bandenberg and Sebastien Varveris
“A moving set that sets the tone, the atmosphere can change at any moment. These three dancers take the audience on a journey into their universe. A universe that combines different media to deliver a unique performance” Laura VANDORMAEL, l’Avenir, 08 June 2013

THE OKUS FORMULA OF D-COMPO 2.0

A particularity of this project is the appearance of the formula “OKUS PAPYRUS LUMINIS”, or how to use the paper as an architectural element, it serves as a screen of projection decomposed, as material used in interaction with the dancer and his movement. It serves as a constraint to the dancers on stage because it modifies the space, becomes mobile and changes the support of the dancers when they are on the ground. It is therefore an interesting connection point between dance and light. This process is called “Paper Numerical Cloud”, a form of spatial and visual mutation.

This project sees the use of shots from D-COMPO 1.0 and therefore the formula “OKUS LUMINIS” in the design of the video-mapping, so that the movements are captured in photography in the form of light traces “OKUS LUMINIS” and are reprojected on the dancer. We thus have a triangular project in which the movement of the dancer passes from photography to videography to end up projected on himself during the performance.

Another particularity is the use of the formula “OKUS FANTASMA” but in which the video-projections are crossed at 90° on the paper cloud to give a three-dimensional effect to the video projected on stage (3D Video-mapping).

The use of improvisation, the focus of the gaze in the movement and the search for its identity remain the basic elements of the choreographic axis “OKUS FOKUS”.