Vanitas-Who takes away what is danced



The objective of this research is to develop a creation process that results in VANITAS, a DOUBLE DEVICE: Installation-Scene. The allegory of death will be taken as a source of inspiration. "Vanity of vanities, all is vanity," Solomon in Ecclesiastes 1: 2.

VANITAS-WHO TAKES AWAY WHAT IS DANCED appears as a need for search having gone through half of our lives, past 40 years.

VANITAS is somehow feeling the perfume of the flowers and the rottenness of the water in the vase, is savoring the beauty of life and feeling the inexorable advance that brings us closer to the end, it is with Eros and Thanatos simultaneously.

VANITAS develops a double device: Installation-Scene that reveals two faces of the same situation.

On the other hand, Vanitas raises the possibility of constructing a theoretical-practical investigation from the scene, Investigation based on the IAE-Faculty of Philosophy and Letters. It is about overcoming the divisions that may exist between praxis and theory and imagining a process of dynamic dramaturgy in which those two poles feed each other. We do not propose a theoretical investigation prior to the work of the scene, nor the elaboration of lines of analysis from a finished work. Our interest is to listen to the questions that arise from the aesthetic process and feed some of the debates of dance and performance studies from the matter produced in creative work.

CREDITS
Directed and performed Agustina Sario/Matthieu Perpoint
Lighting Adrián Grimozzi
Stage Design Leandro Egido
Music Creation Demian Velazco Rochwerger/Matthieu Perpoint
Video Joa Wall
Aesthetic Assistance. Fabiana Barreda/Andrea Saltzman
Sound Federico Spinelli