"Study 1: Nocturne" is presented as the <\/span>First study of the research project "Cartography of the Body in an Architectural Space"<\/b> This project focuses on the exploration of architecture, the semiotics of the body, and the relationship with the public. The work is configured as a <\/span>contemporary dance solo<\/b>, where the music, in this case the <\/span>Chopin's "Nocturnes" performed live on piano<\/b>, acts as a guiding thread for the body mapping that unfolds on stage. The presentation of "Study 1: Nocturne" involves a <\/span>sensory and contemplative experience<\/b>, designed to immerse the viewer in a journey through the nuances of the night and the labyrinths of the feminine self. The choreography, by Alicia Soto, seeks to create poetic images that evoke dreams, fears and fantasies, using darkness as a fundamental element of the stage environment. The approximate duration of the piece is <\/span>60 minutes<\/b>, and is aimed at a broad audience, although the depth of its themes makes it especially relevant for those interested in contemporary dance and emotional exploration through movement. The work has been developed through a creative process that includes artist residencies and performances in different cities, both in Spain and Morocco, which has allowed for a continuous evolution and refinement of the original concept.<\/span><\/p>\n The synopsis for "Study 1: Nocturne" describes it as a <\/span>sensory exploration of the night and its multiple nuances<\/b>, carried out through the language of contemporary dance. In this context, the dancers, immersed in darkness, move guided by the characteristic sounds of the night, thus generating poetic images that seek to evoke in the spectator sensations of dreams, fears and fantasies. The work is structured around the <\/span>Chopin's "Nocturnes"<\/b>, which function as the main sound element and the guiding thread of the choreographic narrative. The concept of <\/span>"deconstruction"<\/b> It is applied at various levels within the show: in the musical scores, in the characterization of the pianist and in the choreography itself, thus creating an experience where time is perceived as an invisible thread that weaves the story, with the audience being the ultimate protagonist of this experience. The piece invites an introspective journey, particularly towards the feminine self, where emotions intertwine between pain and joy, restrictions and liberation, and oppression and resistance. Through an innovative artistic vision, Alicia Soto reinterprets these notions, transforming the \u201cgarden\u201d into an interior space for each woman, a place where dreams and disappointments are preserved, and where the path to personal enlightenment is sought. The proposal, although visually pleasing and musically compact, can be perceived as distant in its attempt to get closer to the audience, for example, through writing on papers, which may seem somewhat artificial to some spectators.<\/span><\/p>\n \u201ccreating the perfect silence, the one that only the rumors of our body inhabit, hearing the blood slipping between the undulating softness of the veins, the beating of the blood, the beating artery of the neck, the pump of the heart, the vibration of the ribs , the gurgling of the intestines, the air whistling through the hairs of the noses\u201d<\/p><\/blockquote>\n (Saramago, 2007: 139).<\/p>\n Hall of Mirrors Premiere, Teatro Calder\u00f3n. The sound element, a piano and as a study and key point of the dramaturgy, "Nocturnes" by Chopin, these being the guiding thread of this cartography.<\/p>\n Pieces that will appear as tributaries in a diverse piano course. The concept "deconstructing" will be exercised in all the elements of the work: in the scores, in the character of the pianist in front of the construction of the character of the dancer and in the choreographic movements, reinforced by the time that marks an invisible thread of this story. Creating two parallel realities. At the end of the show, there will be a conversation with the audience.<\/p>\n Direction and Choreography: Alicia Soto "Study 1: Nocturne" is part of a <\/span>larger research project entitled "Cartography of the Body in an Architectural Space"<\/b> This project, developed by Alicia Soto-Hojarasca between 2014 and 2016, consists of a triptych of choreographic studies, the first of which is "Study 1: Nocturne", followed by "Study 2: Silence" (winner of the North Station Award at the 2014 Tac Festival) and "Study 3: Looks". The overall objective of this research project is to <\/span>explore the relationship between architecture (understood as both physical and conceptual space), the semiotics of the body in motion and interaction with the public<\/b> In "Study 1: Nocturne," this approach is embodied in the use of Chopin's music, specifically his "Nocturnes," as a sonic and structural element that guides the bodily "cartography" that the dancer traces in the stage space. The creative process of this study, and of the project in general, has been characterized by a particular approach that combines artist residencies with public presentations in different cities, both in Spain (such as Valladolid, Casar de C\u00e1ceres and Burgos) and in Morocco (with the collaboration of the Instituto Cervantes in Casablanca). This working methodology has allowed for continuous development and constant feedback from the audience, enriching the creative process and the evolution of the piece. The work culminates after a year of work and artistic relationship between Alicia Soto and Juli\u00e1n G\u00f3mez Pab\u00f3n, although in the version of "Study 1: Nocturne" the musical accompaniment is provided by pianist Mario Rosado Hern\u00e1ndez. The project ultimately seeks to make the audience the ultimate protagonist of the story woven through movement, music and space.<\/span><\/p>","protected":false},"featured_media":4544,"template":"","tags":[],"tipo-de-espectaculo":[27],"class_list":["post-52","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\/52","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\/52\/revisions"}],"predecessor-version":[{"id":8503,"href":"https:\/\/hojarasca-danza.com\/en\/wp-json\/wp\/v2\/espectaculos\/52\/revisions\/8503"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hojarasca-danza.com\/en\/wp-json\/wp\/v2\/media\/4544"}],"wp:attachment":[{"href":"https:\/\/hojarasca-danza.com\/en\/wp-json\/wp\/v2\/media?parent=52"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hojarasca-danza.com\/en\/wp-json\/wp\/v2\/tags?post=52"},{"taxonomy":"tipo-de-espectaculo","embeddable":true,"href":"https:\/\/hojarasca-danza.com\/en\/wp-json\/wp\/v2\/tipo-de-espectaculo?post=52"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Synopsis<\/h2>\n
\nAs architecture, the Hall of Mirrors of the Calder\u00f3n theater, Valladolid, a 19th century building.<\/p>\n
\nCreating a musical dialogue between the protagonists: the room and the public, the pianist and the dancer.<\/p>\n
\nA story whose last protagonist is the public.<\/p>\nartistic sheet<\/h2>\n
\nTheater Direction: Alicia Soto and Dolores de Matos
\nPrincipal Dancer: Alicia Soto
\nLive Music: Mario Rosado Hern\u00e1ndez
\nMusical Pieces: Nocturnes and Preludes by Fr\u00e9d\u00e9ric Chopin
\nArtistic Collaboration: Dolores de Matos and Julio Mart\u00edn
\nLighting Design: Miguel \u00c1ngel Camacho
\nTexts: Alicia Soto
\nText Notes (inspiration): Jos\u00e9 Saramago
\nVideo creation: Manuel Rodr\u00edguez Arnanz
\nPhotography: Luis Antonio Barajas
\nCostume Design: Alicia Soto Company
\nGraphic Design: Jos\u00e9 Navarro S\u00e1nchez<\/p>\nProject<\/h2>\n