Who knows what ?


In a duo, everything is possible, from the reality to the imagination. We b=
egin for example, to investigate the bare reality of a place which can be i=
nside or outside, by dance and music we penetrate this real space which has=
its appropriate life, following the way it is built, lived, represented. W=
e can also play with furniture and objects of the place, fix them to-gether=
, transform them into sculpture, totem . Dancer and musician settle a rite =
which is the history of the place, but also a poetic change of situation.

By playing, they lay themselves emotionally bare, connected to the mo-ment,=
the accidents, the breaks or aberrations of energy, emotion, the games wit=
h objects, materials, suits, make-up. The sweat of dancer and musician defo=
rms or models the scenic, musical, poetic subject. Natu-rally, there is som=
e humor in all this, because the body precisely has its limits. The risk, w=
hich we begin to play with, is internal, intuitive; it does not demonstrate=
itself, it is on the surface of skin, of soul; just a con-versation betwee=
n musical instruments (piano, clarinet, feedback, trum-pet, snare drum, har=
monica), voices and moving bodies.

Positively we are fond of adventurous chaos like improvisation. But J. Cage=
was the wisest man; for him, if we try to make the world better, we can wo=
rsen things. So if we worsen things by opting for disorder, may we become b=
etter ?

Ly Thanh Tien Claudio Parodi

available on demand

contacts:

Claudio Parodi

Via Trieste 46/23

16043 Chiavari (GE)

Italia

tel. +39 0185307740

mobile +39 3290276077

e-mail: cla.parodi@libero.it