CONTINUUM ( 2005 )
Circular space, three bodies, semi-spherical objects and the aleatory construction of the movement as consequence of this interaction. “Continuum” explores the dynamic possibilities that arise from the observation of the kinetic nature of an object, whose circular trajectory influenced the construction of movement and the space, defining concept and aesthetics of the work. The perception of a constant circular displacement generates the possibilities and the peculiar characteristics of the movement. Object, space, choice and aleatory state become a single hybrid body, integrating all elements in the very same continuous flow.
Technical Data
Direction and Conception - Roberto Ramos
Development - Gustavo Ramos e Roberto Ramos
Soundtrack - Gustavo Ramos
Set Design, Objects and Instruments - Roberto Ramos
Performance - Catalina Cappeletti, Gustavo Ramos e Roberto Ramos
Executive Production - Zizi Giraud
General Production - Hálux Produção Cultural
Support - Prêmio Funarte Petrobras de Fomento à Dança
Length
60 minutes
The “Continuum” original Idea first started in 1995, composed as a short length solo called “Continuum Fragments”. The final version was composed for three performers and produced in 2005.
“Continuum” exploits the dynamic possibilities that the body, an object and the space can assume inside a structure of circular and constant motion in a delimited area. All action is focused in the relation of the body and a semi-spherical object, whose circular trajectory described in continuous sequences of movement, dictates the performers’ decisions in a kind of “risk game”.
A line that forms a large circle delimits the performance area. This drawing fixed on the floor is to enable that the whole scene is concentrated in its interior, determining the acting field to a restricted space and creating the references of dimension necessary to build the kinetic structure of the play.
The work structure is determined by the specific kinetic characteristics of the objects used. These objects, when impelled, describe circles, curves and spirals, acting as meters of time and space in the composition of the scene. From the perception of the circular dislocation, randomised possibilities are generated; they stimulate the performer to find new answers and directions in the situation in which the performer is inserted. Thus, a cycle is formed, in which the object is not only an element that creates a shape or structure in space, but also causes the performer’s movement. Object, body, space, randomisation and choice become a single hybrid body, integrating all elements in a same continuous flow.
This way, what happens in the external space is just a reaction or direct reflex of the adding up of the elements generated and visualized in the internal space of the performer. The process occurs through the precise reading of this whole collection and of the situations of chance that are formed, because although there are some structures of organization of the play, the performer cannot define with certainty what kind of answer or sequence of movements will be performed, since the object used in the interaction develops little predictable trajectories. All the time, the choice of each performer determines the possibilities of choice of the whole group. The lines described spatially by the object or by the body are ephemeral, and all the time they are diluted in space. Each action, line or shape described is constantly dissolved, giving room to the next coming ones, in a structure of transitory composition. Thus, casualty becomes a factor constantly present, because at the same time it directs the construction of the work, which deals with dimensional and temporal questions, it determines its own presence through this same process.
The integration of the group in a same flow of circular and continuous movement creates the sensation of possibility of expansion of the action and of the space to the infinite.
