For Claude Shannon
For Claude Shannon
How can movement be turned into a language?
In search of another relay between text and movement, For Claude Shannon uses grammatical dependencies between words in a statement (1) from computer science pioneer Claude Elwood Shannon (2) to recover a linguistic structure that, in turn, generates inexhaustible possibilities for choreographic sequences. Twenty-four discreet movement “atoms” for arms and legs serve as a movement lexicon from which a fixed number of inputs is randomly chosen each time the piece is performed. For each performance, dancers must assemble and learn one particular choreographic outcome among the billions possible that cannot be rehearsed. They rely on the intimacy they have acquired with the fixed linguistic structure of the text and the intimacy they have acquired with one another. Engaging the ressources of both their working and long-term memory, uncovering to the audience the pronouncement of the unknown, concealing the predicaments of entropy, they relentlessly switch circuits.
The show has been nominated for the prestigious Bessie Awards 2016.
Conception Liz Santoro and Pierre Godard | With Marco D’Agostin, Cynthia Koppe, Liz Santoro, and Teresa Silva | Music Greg Beller | Costumes Reid Bartelme | Technical Direction / Lighting Sarah Marcotte | Production Fanny Lacour
Co-production of CDC Atelier de Paris-Carolyn Carlson, Paris Réseau Danse, Théâtre de Vanves-Scène conventionnée pour la danse, CCN-Ballet de Lorraine, The Kitchen, Baryshnikov Arts Center, Mertz Gilmore Foundation, DRAC Île-de-France; With the support of Adami, Arcadi Île-de-France, Centquatre-Paris and ménagerie de verre Studiolab program.
Le principe d'incertitude / Liz Santoro & Pierre Godard are associated artists at CDC Atelier de Paris-Carolyn Carlson.