photo: gustavo ramos

SPIRO ( 2003 )

 

Spiro is a dynamic study which condenses sound, shape and movement in a hybrid language not defined properly neither as music nor as dance. The objects work as inertial instruments, and their different configurations build the abstract state of the play from a geometric and a minimalist composition. The materialization of a sonorous body in the space marks its presence, contrasting with the silence.

 

 

Technical Data

Direction - Roberto Ramos
Conception and Development - Roberto Ramos e Gustavo Ramos
Sound Research - Gustavo Ramos
Set Design, Metalic Structure and Objects - Roberto Ramos
Performance - Catalina Cappeletti, Gustavo Ramos e Roberto Ramos
Execcutive Production - Zizi Giraud
General Production - Hálux Produção Cultural
Support - Programa Rumos Itaú Cultural Dança

 

Length

60 minutes

 

In “Spiro”, the sounds that are produced are totally submitted to the movement of the scenic objects, so that there is no sound without movement. Each choice of movement produces a different kind of sound, and both generate shapes imprinted in space. This relationship linked to time, silence, speed, gravity and to the decisions of the performers orchestrates all the development process of the scenes.

 

The nature of the objects directs the perception of the performers, since every movement, sound and drawing created by the arrangement of these objects are submitted to their kinetic qualities and specific proportions..

 

The set of the play was conceived to allow the distribution of the objects, as well as their dynamics in scene. The light is used to limit the space, enabling the manipulation and the changing of objects during the alternated scenes. Six rectangular focus arranged at the sides of the stage serve as stations, where the scenic objects are placed or positioned as needed in the scene, while the central area of the stage is defined by a general light that forms a big rectangle, inside which the performance takes place. At the beginning of the play all objects are arranged at the side stations that during the scenes work as transition points for these objects. At the end of the performance, all objects present in the scene leave the stations, and are then connected in a single interactive metal structure.