FABRICA
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“The machined, or the evolved phase of artefacts, which attempts to imitate and behave as organisms by linking, coupling, morphing, merging and cross-fertilisations... the establishment of a rich ensemble of relations; networks, connections, breaks and unexpected links”.
A Thousand Plateaus. Deleuze / Guatari



FABRICA / Cluster III

Third dance-media performance of the trilogy "De Humani Corporis Fabrica" for five dancers and an epilogue for a Robot.

Artistic Direction and Choreography 
Pablo Ventura 

Dancers
Vivana Escale
Juraj Korec
Arlette Kunz
Marcel Leemann

Brenda Marcus

Music Composition 
Urbano Mistica Amplitude:
Gato Leiras and Michael Renkel 


Videos 
Tobias Peier 

Robot Design and construction 
Louis-Philippe Demers

Motion Tracking Software 
Frieder Weiss 

Scenography 
Pablo Ventura 

Costumes 
Barbara Mens

Lighting Design 
Antje Brückner 

Neons 
Roland Ammann 

Graphics
Tobias Peier

Premiere: Tanzhaus Wasserwerk Zürich, Switzerland. 29th April 2005.
Co-Production: Teatro Cuyás, Las Palmas, Spain.

©Pablo Ventura 2005.

In Memoriam Evelia Ventura Brito (†2004)
Fabrica/Cluster III is the third and final part of the trilogy "De Humani Corporis Fabrica" based on Andreas Vesalius anatomical teatrise "on the structure of the human body".
The trilogy tries to give form through dance and multimedia to a metaphoric journey of the body. A process spanning from the humane to man’s increasing interdependence with technology till eventually being substituted, in "Fabrica/Cluster III",  by a robot. 

“Fabrica/Cluster III” is the end of this process started with "De Humani" (2002) and followed by "Corporis/Cluster II" (2003).
We have staged an scenario whereby the dancers interpret imaginary characters which have bodies perfected through gene manipulation and bio-mechanical gadgets. Characters which are alienated from their environment and their partners, ready to subsist in a world dominated by artificial intelligence and eventually substituted by machines.

“Fabrica” continues with the journey started with "De Humani" and "Corporis/ClusterII", going beyond a linear dramaturgy and establishing a series of echoes and self references to the trilogy’s dance and media components.
Like it’s counterparts, “Fabrica” explores new relationships of dance stagings to technology by means of computer generated movements, electronic music, videos, installations, motion tracking, wireless transmitters, till finally introducing onstage a robot.

Throughout the trilogy a new arquitecture of the stage has been taking place culminating in "Fabrica": a choreography of the horizontal through dance and of the vertical, by means of new escenographical elements appearing onstage with each piece.
Blue neon rods descending on the dancers in "Fabrica" echo the shop windows display manequins, representing contemporary ideal beauty, and landing onstage in "De Humani. Finally, for the closing epilogue of the trilogy, a climatic appearance from above of a robot onstage.

The electronic sound score in "Fabrica" recovers sound samples as leitmotivs and themes that have appeared in previous works. It integrates amongst other sounds, audio samples of astronaut dialogues in outer space and relevant recordings of Martin Luther King's excerpts of some of his speeches ("we are born into slavery"). 
The videos projected onstage do not have a clear linear narrative or message, but they act as rhythmical spots of lights adding extra dynamics into the stage by beaming typography, colours and abstract patterns alongside realistic pictures, intricately interwoven with the sounds and the choreography taking place.

"Fabrica" rounds and summons up a complex choreography of dancers, objects, sounds and images within a dance-media performance.

Summary to the trilogy
De Humani Corporis Fabrica

In this trilogy the more recent pieces built upon previous one's. The continuous use of the software for dance Life Forms made it possible to create a dance language which delivered an increasingly more complex dance with the creation of each work. Music compositions throughout the trilogy makes use of a series of echoes, self references and Leitmotiv's till ataining completion in Fabrica's electronic music score. Video projections onstage increase in a crescendo throughout the trilogy: from three video projectors lighting the dancers as spots onstage in "De Humani", till achieving a climax of 5 projections beaming all five dancers in "Fabrica". Finally  the introduction of wireless transmitters and metronomes in the choreography, brings the technology into the dancers body itself, not only as an aesthetical gadget with the blinking diodes on dancers chests, but providing the vital tempo of the piece to the dancers by means of earphones.

Throughout this trilogy, a research has been taking place on many levels. On the one hand there are new and unprecedented combinations of body mechanics, counterpoints, choreographic leitmotiv's and rhythms based on software generated movement scores and on the other hand, new ways of interconnecting escenography, lights, videos and sounds, with bodies colonising the performance area.

The trilogy “De Humani Corporis Fabrica”, is an audio-visual reflection on the most advanced bio-mechanical sentient being in as much as such an abstract art form as dance-media performances allows us. A speculation as to the possible scenarios of the body in the future, addressing current themes and disturbing aspects like gene manipulation, artificial intelligence and robotics.

But the trilogy is above all an aesthetic experience and ultimately, a praise of the human body and of the virtuosos of the instrument par excellence;  Dancers.

“Fabrica” engages with surprising moments…as when the dancers dance synchronised to the enrapturing video projections of Tobias Peier or when the bodies seem to shine with lights.
Towards the end a dancing robot designed by the the Canadian Louis-Philippe Demers rises. The thing made of metal hangs and shakes strangely here and there. The question arises whether in tomorrow’s world robots will be replacing dancers…  Mirjam Oertli, Tages Anzeiger 2.05.2005.

At the end the dancers lie on the floor. The dancing is taken over by a machine.. a hissing, jarring, jerking, metallic shining Robot… Ventura relocates his work in a world of it’s own changing between a digital future and a mechanical futurism… Ventura has again and again gentle and intriguing duos and trios created. Unreal and poetic is the scene in which, thanks to a computer program from Frieder Weiss the dancers bodies commence to shine till appearing transparent…  Felizitas Ammann NZZ 3.05.2005.