Orime no Ue

  • choreography: Alessio Silvestrin
  • dancers: Sawako Iseki, Aiichiro Miyagawa, Izumi Fujii, Yoshimitsu
    Kushida, Satoshi Nakagawa, Emi Aoki, Megumi Mashimo, Takuya Fujisawa, Kei Ushiroda, Aoi Keimi, Yukio Miyahara
  • music: Alessio Silvestrin
  • piano: Ken’ichi Nakagawa
  • flute: eLio (Eriko Fukui)
  • video: Alessio Silvestrin, Ryu Endo
  • set design: Alessio Silvestrin
  • light design: Masakazu Itoh, Alessio Silvestrin
  • costume design: Alessio Silvestrin
  • costume maker: Reiko Igarashi
  • lenght: 30 min.
  • production: Noism 01
  • premiere: Ryutopia Niigata-City Performing Arts Center, Niigata 27.05.2011

FOR A FOLD

Solutions, in response to requests emerging during an artistic creation, are sensed as results coming from a necessity that considers the rules of existing forms. In this regard, more contents are brought inside a same container that observes a possible equivalence.

By considering numbers contained in the products of nature, it is possible to accept that all artificial products are disposing of similar logics, intensified by different attributes limited from the historical and social context. Concerning that, the Fibonacci sequence of numbers has been integrated to parameters contained inside the aesthetic form of the traditional Japanese Noh Theater, where natural phenomena are recurring as well and has been stimulating the desire to apply its numerical qualities from music composition to the recreation of space and to how the motions of the dancer’ s body could have become the protagonist.

With attention to the five music compositions: Ito, Omokage, Koe no kage, Tsubomi and Habnabira, the Fibonacci Numbers have been applied in different proportions to elements inspired from the traditional music of Noh, such as melodic fragments of a line, or sound intervals for generating scales and their properties have been used to find permutations of notes, rhythms and dynamics. The transcription into western music notation has transformed the traditional Japanese music material with the intention to bring it towards aspects of serial systems from the tradition of western music and instruments’ potential, as the piano and the flute.

All what is expressed on the surface of such an ancient kind of theater tradition, combined with the involvement of the inductive reasoning, has been only interrogatives towards the proximity of a cultural fold.

Alessio Silvestrin