Fuga atempts a scape from concept. Fuga scapes ease interpretation. Fuga wonders without ever arriving somewhere. Fuga is built upon the symbol of the spiral, our most profound image for the movement of Time. Fuga has a Will of its own “which moves great and deliberate, unhasting, unresting, through whatever cycles, towards a greater and greater informing of its own figures with its own infinite reality”.
CLICK on the image for a short video edit of the performance:
Choreographed by Gabriel Brito Nunes
Danced and created with Tina Valentan
With advice from Susan Rethorst
Fuga uses a progression of sacred rectangles that become the basis for the formation of spiral curvatures which serve as a model for a vast range of universal movement, from particle to galaxy, from stage to audience.
In Fuga, the proportions of the deisgn on the floor of the stage follow the proportions of the theater where the performance is played, thus turning the theater in question into a site specifc performance space.
Fuga uses the fourth wall as a window which curtains erase a past that is still repeated as a support and background in the projections and that will then open once more to reveal a present not as an unprofitable recurrence, but in active, pregnant gestation of all that is yet to be unfolded.
Fuga starts with a recorded video projection on the curtains of a conventional theater that, when opened, allow the projection to fill the whole backdrop of the stage. This first video image of a ‘fictitious’ corner wipes the backdrop wall of the stage away while three-dimensionally enclosing the whole theater. Fuga also serves itself of two live projections from two cameras positioned in strategic points on the stage. Those two projections first appear overlapped on the backdrop to be later isolated in two smaller moving images once the curtains of the theater are closed. What happens behind the curtains is then reproduced and revealed to the audience on these two flattened images projected on the fourth wall – the curtains.
