This 'collaborative' work by choreographer Alban Richard & composer Paul Clift seeks to emphasise choreographic movement by incorporating a sound-diffusion
device into the dancer's costume. Within the same space, three musicians also have diffusion devices in close proximity to their instruments. The dancer
is able to control, by her movements, the directionality and filtering of sounds diffused through the dance system. As such, the choreographic
score is also a spatialisation score, and is integrated into the instrumental writing accordingly; in a sense, the dancer is a sixth musician. Treatments
and the diffusion of synthetic sounds rotates within the space shared by dancer and musician, like a sort of Calder mobile where forms, made familiar by
their recurrence, come to the forefront only to drift, sometimes imperceptibly, into the background.
The dance itself evolves around circular processes; beginning with simple steps, the dance score accumulates and dissipates complexity within each
choreographic cell. The result is a sort of poetic austerity, a work which is both highly complex and minimal; a textual metaphor is provided by the
poetry of Joseph Brodsky.
