Like that, ad infinitum. Like an endless thread, the melody runs through three dancing bodies. Although they are constantly distancing themselves from one another, they are deeply intertwined in the interdependence of their movements. But are they really three bodies? Or is it the movements and melody that make them sometimes one body, sometimes two bodies, sometimes three bodies…?⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

Ita Infinita follows the choreographic trajectory of the famous Hear Eyes Move. Dances with Ligeti choreographed by Elisabeth. In collaboration with United Instruments of Lucilin, this new work departs from Johann Sebastian Bach’s “Violin Partita No. 1 in B minor” (BWV 1002) and includes a new score of improvised music created by Elisabeth herself, exploring infinity and interconnectedness in a space where past and present collide.

In order to explore how movements and textures, both musical and physical, overlap, how they merge again and again, so that the body does much more than simply illustrate the music, and the music does much more than simply set the body to music. This simultaneity of dance and music gives rise to a unique form that develops and flourishes, blurring the boundaries between nature and art – for the Baroque has always been in search of the infinite, and has found it here and there, in the immense as well as the miniature.

Elisabeth and her team adhere to this idea, drawing inspiration not only from Baroque art, but also from the shapes and textures of nature. For example, the sinuous patterns of the dances – notably the Allemande and Sarabande – reflect not only the architectural styles and popular landscapes of the time, but also the abundance of small infinities such as those found in plants, snail shells or whirlpools.⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀

Inspired by the sumptuous dresses and ornaments of the Baroque era, the close collaboration with costume designer Agnes Hamvas also provides a visual atmosphere that produces another aesthetic level interwoven with the dance and music, combining the pomp of the Baroque era with a more modern simplicity in the costumes. A more discreet infinity, still shimmering with brilliant colors.

ITA INFINITA Teaser from Elisabeth Schilling on Vimeo.

Credits:

Concept & Choreography: Elisabeth Schilling

Performance: Brian Ca, Piera Jovic, Malcolm Sutherland

All movements were developed with the dancers.

Rehearsal assistant: Brian Ca

Music: Johann Sebastian Bach, Partita No 1 in B minor

Live accompaniment: United Instruments of Lucilin

Musical interpretation used in holograms and video: Daniel Auner

Musicologist: Dagman Glüxam

Costume designer: Agnes Hamvas

Accompanying holograms: Mad Trix

Graphic design: Studio Polenta

Photography & Trailer: Bohumil Kostohryz

Rehearsal footage: Ben Wagener

Film documentation: Jerôme Reischl

Text: Moritz Gansen

Accompanying poet: Florence Sunnen⠀⠀⠀⠀⠀⠀⠀⠀⠀

Accompanying musicolgues: Jean-François Boukobza, Stephanie Schroedter

Research support: Christiane Eiffes

Produced by: Making Dances asbl

Co-produced by: Trifolion Echternach

Creation supported by: TROIS C-L, Centre de Création Chorégraphique Luxembourgeois, Kultursommer RLP, Fondation Indépendance
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Hologrames supported by: Ministère de la Culture Luxembourg

Tour supported by: Fondation EME, Fondation Sommer, Stiftung für Kultur Wittlich, Mosel Musikfestival, Fondation Sommer, Making Dances asbl is supported by the Ministry of Culture Luxembourg.