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TOPO proposes to investigate a body fragmented and reconstructed by its own regard. The act of looking at the body becomes active. Sharing the same space, spectators and dancers play merging roles. Instead of passively watching a performance, the spectators offer a physical and even active (for instance by filming a dancer) participation, and allow the fortuitous to become an essential component of the structural device.
• Attempting to experience looking and the influence of looking on changing states of the body. • Defining what can motivate a choice, a decision. Inducing the movement of spectators through image, sound and body: entering the matter of movement.
• Working on group and individual impulses.
The route shared by dancers and audience alike, crosses two spaces: an installation (8x8 metres), based on an idea from visual artist Anna Adahl, and complete with sound captors/triggers (64 flexible tubes, each releasing a specific sound provide the spatial architecture), is echoed by a video installation by Sean Bacon.
The installation is flexible and can therefore accommodate the requirements of the hosting venue. One evening can feature several performances of thirty minutes and involving fifty participants at each time. « Stemming from the piece No Body, Never Mind, TOPO allows me to alter the body cartography. TOPO invents this variable-geometry space to break the sensory perceptions’ hierarchies. It infiltrates the nerve fibres and draws the eye further forward to explore and experiment. TOPO is a map of organic interactivity. » The audience will be invited to interact and play with the dancers. They will be an essential component of the moving image and become an active witness of their own regard.
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