performing arts + research

somatic practice | listening | sound | environment

ABSTRACT > Performance Practice as Research

‘Building -scapes’ is a performance-practice-as-research that interrogates the tensions between somatic, sonic, and cyclical processes in a space of mediation with technological devices. The work with sound and movement promotes the encounter with the other and supplies a medium for intimate sharing, a platform to inquire about social-ecological systems of collaboration and research. The performance practice is a medium to expand into critical thinking occupying the “this space” the “in-between” that sound amplifies. Now more than ever, in the socio-economical-political landscape we currently face, we need practices that create a favourable soil for moments of encounter, intimacy and collaboration.

CREATION > What happens during the performance

Conceived as site-specific, the work of the performers involves real-time sound composition created whilst moving and interacting with the environment, in the presence of the audience/ users. The performers are engaged in a process of instantaneous ‘feedback-response’ that reveals the relationship between the human, the environment, and the machine, exposing the fragility and intimacy of the process of making. The audience is invited to enter the performance space and scan a QR code with their phone to enter an audio streaming event. The two performers are already in the space. While the audience enters and moves freely, they become immediately part of the process by witnessing and creating their narratives: the performative machinery designed through movement and live sound composition offers disjointed materials that leave room for personal associations. The audience listens to the performance through headphones while the architectural, sensorial and kinaesthetic space is continuously constructed, shattered and restructured. The performers explore a wide range of motions and use of vocal sound, playing with prosody, responding to the environment, who enters the space, to what is happening in the socio-political-environmental landscape at the current historical moment. They play with micro as well as macro events. From the change of temperature in their bodies to memories to environmental-political issues and concerns. A writer is following what is happening and responding through storytelling, projected in the space, allowing free associations to appear, following an independent stream of thoughts. Sometimes the text, soundscape and movement collide, sometimes they don’t. The audience receives the soundscape with a few seconds of delay caused by the streaming nature of the audio live stream event. All this assemblage of structured, yet, random instantaneous ‘happenings’, received through the intimacy of the headphones, create a slight misalignment between what is seen and what is heard, what is expected and what is known, producing a dream-like, virtual space without the use of virtual equipment. It is machinery for free associations. The world is anyway a game and mirror of our projection and expectations.

To listen is to enter in the spatiality by which, at the same time, I am penetrated. To be listening is to be inside as well as outside, to open from without and from within, hence from one to the other as from one in the other. It creates a condition as such: sharing an inside/outside, division and participation, de-connection and contagion. (Listening, Jean Luc Nancy & Mandell, 2007, p.14)

ARCHIVE

Still Pouring Sand 7:29 “Still pouring Sand” has been created with personal and found footage revisiting the traumatic Hightide that invested Venice on November 12th 2019. Is a testimonial, a resonance, a personal experience filtered by the creative process by using archive footage and personal footage as main material, both as images and soundscape. The short video has been edited under the mentorship of Becky Edmunds, in the context of Dance and the Moving Image Module during the MFA Creative Practice, Trinity Laban Conservatoire of Music and Dance.

Archives retrieved from: Istituto Luce: Venezia 1972 VENEZIA L’acqua alta storica del 19 – 12 novembre 2019, 187cm Maltempo, alta marea eccezionale a Venezia suonano le sirene nella città lagunare ”La città delle sirene” di Giovanni Pellegrini | Performer: Laura Colomban | Concept + Editing: Laura Colomban | A special thanks to Becky Edmunds, Alice Gale-Feeny, Michaela Gerussi.

Fractures” is a site-specific work born from a Residency at TraiArt, in Parma, Italy. As an artistic response to a moment of fracture and crisis: a body which connects to collective nowadays fractures: the global pandemic as the most recent explosion in Beirut. On 4 August 2020, a large amount of ammonium nitrate stored at the port of the city of Beirut, the capital of Lebanon, exploded, causing at least 210 deaths, and 7,500 injuries. The soundscape used is voices recorded after the explosion.

Video selected as a finalist at Hangartfest, Pesaro, Italy. Performance concept: Laura Colomban Performer: Laura Colomban | Video: Elisa Russo | Editing: Giovanni Fiamminghi | Audio file retrieved from Instagram: @lebanontimes @Ilovebeirut | Production: TraiArt

Traceable no further 5:47 “I look for what is hidden, there are reasons for hiding, often political ones. If I pull this out, it grows, suddenly there’s a whole forest appearing. Something we feel but which hasn’t been said” Simonsen, B. (Ed.). (2017). The art of rehearsal: Conversations with contemporary theatre-makers. Bloomsbury Methuen Drama is an imprint of Bloomsbury Publishing Plc. The act of disappearance in the physical act is represented by the focus or non-focus of gaze and the play between movement and the cessation of movement: the disappeared cannot be represented because they can be “traceable no further” (Ridout N. 2006. Stage, frights, Animals and Other Theatrical Problems). A recall the political implication of unmarked condition. The performance has been crafted under the mentorship of Zoi DImitriou in the context of Dance and the Performance Making Module during the MFA Creative Practice, Trinity Laban Conservatoire of Music and Dance. Soundscape created during Banff Residency: © Philippe Melanson and Daniel Pencer Performer: Laura Colomban | MFA Creative Practice Dance Professional Pathways 2019/2021

NEU MA 9:18 is a movement and real-time control-based research that takes the shape of an Interactive Live Act. The breath is the main sound material and it also functions as a control interface, by influencing some parameters of the software depending on its intensity and spectral components (timbre). The software performs real-time analysis on the sound of breath, which is then amplified and processed according to the instructions given by the composer. The choreography is defined by the connection and interrelation between the breath and the software, the movement is born in relation to the sound that it creates more than from aesthetic components. The lighting also responds to the breath data.

Choreography and performer: Laura Colomban | Interaction and Sound design: Giovanni Dinello | Partners: V.E.R-V. (Venice Electroacoustic Rendez-Vous), BURBB (Biennale Urbana)

ABOUT

ABOUT

Laura Colomban is developing through performance-making a bespoke cyclical creative process which integrates circular methodologies through expanded choreography and auditory investigation, specifically creating sites within sites through voice, movement, and sound groundwork.

SPONSORSHIPS AND AWARDS

Leverhulme Arts Scholar 2020/2021
Leverhulme Arts Scholar 2019/2020
Finalist Short Video “Fratture” HangartFest, September 2020
Finalist at Prospettiva Danza e Teatro Prize, April 2019
Sponsorhip Performing Arts Res Spring 2019
Creative Gesture Collective Financial Aid, August 2018
O1 Visa – Individuals with Extraordinary Ability or Achievement, September 2016
Video Dance Residency WASP, Working Art Space and Production, Bucharest, RO, 2013

EDUCATION

MFA Creative Practice Dance Professional Pathway 2019/2021
Tamalpa Institute 2012/2015
Atem Tonus Ton – Voice and Breath Therapy 2015/2017
MA Graphic Design
International School of Graphic Design 2002/2004
Management of Cultural Production, Università Cà Foscari 2001/2002

SELECTED PERFORMANCES AS DANCE MAKER

Möbius Devices, Berlin, IQ Festival, November 19th 2021
Möbius Devices, Hangartfest, Pesaro, October 21st, 2021
Möbius Devices, London, 21st July 2021
NEU MA #4 April 17,18th, 2019 Hors Lits, Paris, FR
NEU MA #2 Prospettiva Danza e Teatro, Apil 1/2 2019, Padova, IT
Twang! September 15th, HomeFest, Bucharest, RO
NEU MA June 30th 2018, Social Practice, Performance and Education Int. Symposium
at MAMbo, Modern Art Museum, Bologna, IT
MyoBreath Master Digital Exhibit 20th April 2018, Venice IT
[∅∩⊂] Mothership, November 14th, 2017, New York, USA
[∅∩⊂] Picasso Machinery, October 27th, 2017, New York, USA
StäbeTanz, Festival delle Arti Giudecca, September 9-10th, 2017, Venice, IT
[∅∩⊂]: Solo for the Festival “The Living Art”, October 08th, 2016, Vicenza, IT
Threshold: CollabFest – Triskelion Art Center, October 15th, 2015, New York, USA
Tribute to Anna Halprin, Washigton Square Park, August 18th, 2015, New York, USA
Light at Festival delle Arti, September 13th, 2015, Venice, IT
D.E.A.R: at Festival delle Arti, September 14th, 2013, Venice, IT
Unwrapped: Residency and Performance at WASP, November 13th, 2013, Bucharest, RO

SELECTED COLLABORATIONS AS PERFORMER

Performer at Bruce Nauman, Contrapposto Studies, May 20th 2021-December 2021, Punta della Dogana, Venice.
Punchdrunk International, Believe Your Eyes, September 2019
FESTI Group, Blame the Moon, Inauguration Venice Carnival, February 14th, 2019, Venice, IT
The Commons Choir, May Day Hey Day Parfait, BRIC Arts Media, Brooklyn, November 9-10-11-12th, 2017, New York, USA
“Geometrie Instabili” Festival delle Arti Giudecca, September 09-10th, 2016, Venice, IT
“Architetture per corpi”, Festival “A piede libero”, September 18th, 2016, Venice, IT
The Commons Choir, Judson Church, November 23rd, 2015, New York, USA
Molayo Dance Company, Festival Intérieur/Extérieur, June 5th, 2015, Romans, FR
Molayo Work in Progress Performance, Inteatro, September 18th, 2014, Polverigi, IT
Molayo Dance Company, August 30th, 2014, Bolozòn, FR

PODCAST

DanceOutsideDance explores aspects of movement-based artistic practices via conversations with practitioners within — and beyond –dance. We consider it an open research forum, exposing our questions, investigations and conversations as artists to the wider world, a public space where we embrace the unresolved. Our investigations engage with diverse modalities and approaches to collaboration, technology and digital media, performance making, relational practice, neuroscience, anthropology and somatics.
We try to listen to what arises in the episodes to cultivate critical thinking and open dialogue.
DanceOutsideDance is an artist-led and self-funded podcast initiated by Laura Colomban, Alice Gale-Feeny, Michaela Gerussi and Julia Pond.

To support the podcast, donate to paypal.me/danceoutsidedance.

These funds go towards transcription and translation services, allowing this independent artist-led initiative to remain autonomous.

Link: https://www.spreaker.com/show/danceoutsidedance

DanceOutsideDance explores aspects of movement-based artistic practices via conversations with practitioners within — and beyond –dance. We consider it an open research forum, exposing our questions, investigations and conversations as artists to the wider world, a public space where we embrace the unresolved. Our investigations engage with diverse modalities and approaches to collaboration, technology and digital media, performance making, relational practice, neuroscience, anthropology and somatics.
We try to listen to what arises in the episodes to cultivate critical thinking and open dialogue.
DanceOutsideDance is an artist-led and self-funded podcast initiated by Laura Colomban, Alice Gale-Feeny, Michaela Gerussi and Julia Pond.

To support the podcast, donate to paypal.me/danceoutsidedance.

These funds go towards transcription and translation services, allowing this independent artist-led initiative to remain autonomous.

Link: https://www.spreaker.com/show/danceoutsidedance

PUBLICATIONS

Anna and Lawrence Halprin: the RSVP cycle

Laura Colomban

Abstract The RSVP cycle represented a point of reference for Anna Halprin, for the realization of her mission: to make everyone dance, regardless of their training in dance, age and ability. In fact, the inclusion of as many people as possible in the world of dance has always been an essential aspect for her, who in the encounter with the different has recognized a way to enrich her own “personal landscape”, through a transversal work dimension without cultural, historical or geographical boundaries. To make this dynamic inclusive, he therefore sought a methodology for the realization of collective works that was based on a common language and that would allow to overcome the idea and preconceptions about gender, social and cultural stratification, sex, age , the artistic technique, the race, the type of individual training. The RSVP cycle is the tool and the outcome of this research.

Appeared in No. 9 of the journal Dance and Research of the University of Bologna: danzaericerca.unibo.it

Breath, Intimacy and Interactivity

Atem Tonus Ton Practice in training and in Performance
Laura Colomban

Abstract During the practice of listening to the breath, what is sought is the “present” condition, free from expectations and the temptation to control, induce, force, to leave room for the perception and listening of the movement of the breath. It speaks of itself, and of us, in an unequivocal way, assuming the role of a traveling companion, manifesting the dialogue between body, mind and spirit. Being present, letting it happen, bringing attention: this attitude towards the breath leads to vitalize the body-mind system, oxygenate the cells and stimulate or relax the nervous system. How do you find this space in movement and in the performing arts?

Appeared in No. 7 of the Audiation Magazine n.07 / 2019

Rsvp cycle image

Anna and Lawrence Halprin: the RSVP cycle

Laura Colomban

Rsvp cycle image
Abstract The RSVP cycle represented a point of reference for Anna Halprin, for the realization of her mission: to make everyone dance, regardless of their training in dance, age and ability. In fact, the inclusion of as many people as possible in the world of dance has always been an essential aspect for her, who in the encounter with the different has recognized a way to enrich her own “personal landscape”, through a transversal work dimension without cultural, historical or geographical boundaries. To make this dynamic inclusive, he therefore sought a methodology for the realization of collective works that was based on a common language and that would allow to overcome the idea and preconceptions about gender, social and cultural stratification, sex, age , the artistic technique, the race, the type of individual training. The RSVP cycle is the tool and the outcome of this research.

Appeared in No. 9 of the journal Dance and Research of the University of Bologna: danzaericerca.unibo.it

Breath, Intimacy and Interactivity

Atem Tonus Ton Practice in training and in Performance
Laura Colomban

Abstract During the practice of listening to the breath, what is sought is the “present” condition, free from expectations and the temptation to control, induce, force, to leave room for the perception and listening of the movement of the breath. It speaks of itself, and of us, in an unequivocal way, assuming the role of a traveling companion, manifesting the dialogue between body, mind and spirit. Being present, letting it happen, bringing attention: this attitude towards the breath leads to vitalize the body-mind system, oxygenate the cells and stimulate or relax the nervous system. How do you find this space in movement and in the performing arts?

Appeared in No. 7 of the Audiation Magazine n.07 / 2019