Bitef

75

From the notes by Virgilio Sieni "What else has man done except blithely break down billions of structures and reduce them to a state in which they are no longer capable of integration? No doubt he has built towns and cultivated the land; yet, on reflection, urbanization and agriculture are themselves instruments intended to create inertia, at a rate and in a proportion infinitely higher than the amount of organization they involve. As for the creations of the human mind, their significance, only exists in relation to it, and they will merge into the general chaos, as soon as the human mind has disappeared. Thus it is that civilization, taken as a whole, can be described as an extraordinarily complex mechanism, which we might be tempted to see as offering an opportunity of survival for the human world, if its function were not to produce what physicists call entropy, that is inertia". This Lucretian-inspired approach on the part of Lévi-Strauss of the descriptions as a source of enchantment that guide us towards a poetic path across the foundations of nature and in the relationship of the signs that guide work towards a detailed structure of choreographed segments, each of which subdivided according to three routes: -the invisible body: opaque visions of mysterious, nebulous gestures as though set in Pantanal, the marsh; mechanisms for making oneself invisible like painting oneself black or circling one's eyes, or putting on a spectacle frame with no lenses so as to feel invisible.; Dorina who can't see but who by transcribing her surroundings appears to suspend her progress, appears to "that of arresting the process, of controlling the impulse which forces him to block up the cracks in the wall of necessity one by one and to complete his work at same time as he shuts himself up within his prison". Dorina the invisible perhaps indicates the other Lucretian-type functions of the organs, the path that sight takes in the instant when the object dies inside: what does the dance say in her? - surroundings and outline: on bodies like animated statuettes automatons between rituals and play, black figures like a numbered sequel of drawings and asymmetric decorations; the cosmic structure of the village of the Bororo and the body decorations of the Caduvei recall an attitude that has shifted certain dances from dead centre towards the medians in accordance with dialoguing figurative and irregular movements. - nature, and man in his taking the part of the animal, of pity, of us. VIRĐILIO SIJENI, koreograf i plesač, ima vodeću ulogu na italijanskoj sceni savremenog plesa još od ranih 1980-ih godina. Roden je u Firenci, a klasičan i savremen pies udo je u Amsterdamu, Njujorku i Tokiju. Studirao je takođe vizuelne umetnosti, arhitekturu i borilačke veštine, Kao koreograf istoimene trupe, Virđilio Sijeni nadzire i ostvaruje razne vrste umetničkih projekata, od performansa do vizuelnih umetničkih instalacija i video produkcija. Od 2003. Sijeni vodi CANGO (Cantieri Goldonetta u Firenci) prostor koji je osmislio i projektovao za telesne vežbe i eksperimente u savremenim jezicima. Akademiju za umetnost pokreta, čiji je rad usmeren na prenos umetničke prakse i definiciju novog odnosa izmedu obrazovanja i produkcije, namenjen profesionalcima i pocetnidma, osnovao je 2007. godine.