"Study 2: Silence" is presented as a piece of <\/span>contemporary dance that is part of the triptych "Cartography of the Body in an Architectural Space"<\/b>, a research project developed by Alicia Soto-Hojarasca between 2014 and 2016. This particular study focuses on the exploration of the <\/span>silence as a constitutive and central thematic element<\/b>, inviting deep reflection through movement and stage atmosphere. The work is characterized by its ability to immerse the viewer in a state of contemplation, using body language to convey the multiple nuances and meanings that silence can take on, from the absence of sound to an expressive pause or a wait filled with expectation. The presentation of "Study 2: Silence" underscores its introspective nature and its search for a connection with the innermost dimension of the human being, proposing a stage experience that transcends mere representation to become a sensorial and emotional journey guided by stillness and introspection.<\/span><\/p>\n "Study 2: Silence" is described as a <\/span>introspective journey that uses silence as a means to reflect on the soul<\/b> This piece is part of the triptych "Cartography of the Body in an Architectural Space," a larger research project that explores the relationship between architecture, the semiotics of the body, and the public. In this context, "Study 2: Silence" focuses on the exploration of the <\/span>Absence of sound as an element loaded with meaning and as a space conducive to introspection and connection with the spiritual or internal dimension of the human being<\/b>Silence is not seen as a simple lack of noise, but as an active element that allows us to hear and perceive subtle aspects of existence and of our own being. Choreography, in this context, becomes a language that translates these reflections and sensations through movement, creating a scenic landscape where silence is the protagonist and guides the journey of both the performers and the audience. The work invites a contemplative experience, where the spectator is led to a state of mindful attention to the nuances of movement and stage presence, in contrast to the omnipresence of sound in everyday life. The work lasts approximately 50 minutes and is aimed at young and adult audiences.<\/span><\/p>\n \u201cThe look learns by looking. (Text by Santiago Olmo, Subtraction of color, exhibition by Bernard\u00ed Roig, Instante Blanco, National Museum of Sculpture).<\/p>\n Premiere on May 24, 2014, in the cloister of the National Museum of Sculpture. As sound, the accompaniment of the Band of Bugles and Drums "Sagrada Lanzada" from Valladolid.<\/p>\n The color, the white of the stone, the subtraction of color in the face of polychromy. And an audience, hunter of emotions, always watching.<\/p>\n Choreography and Artistic Direction: Alicia Soto<\/p>\n Company: Hojarasca Dance-Theater<\/p>\n Performers: Dancers from Alicia Soto-Hojarasca's team<\/p>\n Live Music: Guest Composer (name not specified)<\/p>\n Project: Mapping the Body in an Architectural Space (2014\u20132016)<\/p>\n "Study 2: Silence" is one of the pieces that make up the <\/span>Triptych "Cartography of the Body in an Architectural Space"<\/b>, a choreographic research project developed by Alicia Soto-Hojarasca between 2014 and 2016. This broader project focuses on exploring the relationship between architecture (understood as both physical and conceptual space), the semiotics of the moving body, and interaction with the audience. In "Estudio 2: Silencio," this approach is concretized in the <\/span>research into silence as an architectural and emotional element<\/b>, where the body traces a sonic and spatial cartography based on the absence of noise. The project seeks to take dance to different levels in each studio, investigating both aesthetic and content-based scenic elements, and encouraging reflective audience participation. The Alicia Soto-Hojarasca company is known for its constant research and evolution in its artistic language, exploring dance, theater, and visual arts, often with the use of multimedia and new technologies. Alicia Soto's research focuses on transdisciplinarity and the creation of personal stage forms that promote the poetic fusion of performative languages.<\/span><\/p>","protected":false},"featured_media":4578,"template":"","tags":[],"tipo-de-espectaculo":[27],"class_list":["post-51","espectaculos","type-espectaculos","status-publish","has-post-thumbnail","hentry","tipo-de-espectaculo-in-situ"],"acf":[],"_links":{"self":[{"href":"https:\/\/hojarasca-danza.com\/en\/wp-json\/wp\/v2\/espectaculos\/51","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hojarasca-danza.com\/en\/wp-json\/wp\/v2\/espectaculos"}],"about":[{"href":"https:\/\/hojarasca-danza.com\/en\/wp-json\/wp\/v2\/types\/espectaculos"}],"version-history":[{"count":7,"href":"https:\/\/hojarasca-danza.com\/en\/wp-json\/wp\/v2\/espectaculos\/51\/revisions"}],"predecessor-version":[{"id":8502,"href":"https:\/\/hojarasca-danza.com\/en\/wp-json\/wp\/v2\/espectaculos\/51\/revisions\/8502"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hojarasca-danza.com\/en\/wp-json\/wp\/v2\/media\/4578"}],"wp:attachment":[{"href":"https:\/\/hojarasca-danza.com\/en\/wp-json\/wp\/v2\/media?parent=51"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hojarasca-danza.com\/en\/wp-json\/wp\/v2\/tags?post=51"},{"taxonomy":"tipo-de-espectaculo","embeddable":true,"href":"https:\/\/hojarasca-danza.com\/en\/wp-json\/wp\/v2\/tipo-de-espectaculo?post=51"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Synopsis<\/h2>\n
\nThere is no way to build the gaze if it is not by exercising it: looking, observing and analyzing.
\nThere is no way to separate the text from the image.
\nThe text is a way of looking and the images are forms of discourse.
\nWriting leads to silence and the look to blindness.<\/p><\/blockquote>\n
\nAs an architectural space, the cloister of the National Sculpture Museum of Valladolid.<\/p>\n
\nSilence in the face of the loud sound of the drums that rumbles from the stone and the wind, which slips through the metallic wind.
\nThe living sculpture as if it were a human being.<\/p>\nartistic sheet<\/h2>\n
Project<\/h2>\n