78 79 stage name nome d’arte Number of players: From 1 to ∞. CollettivO CineticO turns into choreographic material the agile bodies of professional dancers [Bolero / The head down tribe, 2018, with the dancers of the Balletto di Roma like pop-zombies, devouring selfies and reiterated actions somewhere in between the arcade Ghosts ‘n’ Goblins, the survival-horror Resident Evil and the masterpiece by Antonin Artaud The theatre and its double], and bodies, younger or older, apparently distant from dance, as in <age> [2012, 2014] and its augmented reality device A different kind of age [2016]: together the two productions forming a generational Capture the Flag that pits sixteen-year-olds against sixtysomethings, designated as exemplars and profiled in a bulky personality questionnaire completed beforehand, that translates on stage to behaviour, different and unknown to them with each new performance. Cortázar's Bestiario in version 3.0. Movements inspired by both parts of Pina Bausch's Kontakthof18 [a passage from which was brilliantly filmed by Rainer Werner Fassbinder in his Theater in Trance of 1981] and all of John Cage's indeterminacy principle. The clinical, taxonomic rigour of a dramaturg with a first-class honours degree in physics and statistics, a choreographer-entomologist with eclectic tastes - like Zygmunt Bauman’s definition of a swarm in his Homo Consumens: flowing multitude, where hierarchy has no meaning, moving around its own passion19. CollettivO CineticO, i.e. kinetic collective, embodiment of Goffman's lessons from The Presentation of Self in Everyday Life and each of us as a social actor. Nevertheless, the same separation between actors and spectators, in the role-play put in place by CollettivO, responds to the dynamics of fluids: a voyeuristic audience that isn't content to merely pass comment from the sidelines, but participates in the drama of each creation, from the Hamletian dilemma of to be or not to be - settled once and for all via an applause-ometer [Amleto, 2013] to the human specimen plucked from the audience and analysed on the scene of the crime in Sherlock Holmes [2015, a surrealist whodunit that explores the differences between contemporary art and rubbish], to the extreme gameplay of |X| No, non distruggeremo […]20, interactive performance from 2010 where the spectators - passive, aggressive or slacker ones - have full control over the actions of three blindfolded performers. It's in the console. «The performing arts exist in dialogue with the spectator, the essential variable. Making a performance really live means reacting to this essential variable, making it a mirror21». Game uniform: synthetic, like a polyester Adidas tracksuit [Variazioni posturali degli abitanti di stanze asimmetriche in regimi meteorologici controllati (chi inciampa lo fa apposta), 2015, a kinetic tribute to Jérôme Bel's The Show Must Go On], a lycra rhythmic gym tracksuit [10 miniballetti, 2015, a choreographic tribute to Raymond �ueneau' Exercises in Style], a latex S&M catsuit or a piebald fleece jumpsuit [Sylphidarium and its parade of objets trouvés that sequesters and surpasses the new-dada aesthetic, accompanied by original music performed live by Francesco Antonioni]. Synthetic like a naked body, freed from the rags of rhetoric, free to give free reign to synthesis. Playing field: the both carnal or cyborg space of an identity earned through a login, with Pinocchio - human-automaton par excellence - as its emblem [pin:######, 2008]. A public toilet broadcast in real time via webcam [Diluire la prossimità. Azioni pubbliche per spazi privati22, 2009]. A dental arch forcefully in sight, summarized in the D of a smiley emoticon, as a reflection on the ob-scene of the scene, on what's left out of the scene [::D – monoscritture retiniche sull’oscenità dei denti23, 2009] and its sequel: an X standing graphically for blinking eyes, imprisoned by adhesive tape in the space of a cartoon square [XD – vignette sfuse per uso topico24, 2010]. For CollettivO CineticO the exploration of space is an intergalactic trip between smartphones and living flesh, between the cellulose of manga comic strip pages and the celluloid of a 16:9 screen, ending up back home with Benvenuto Umano25 [2017, latest step in the choreographic architecture of C/O] on the skin of naked bodies, encyclopaedic iconographies from the history of art deciphered by a blindfolded priestess in an oversize hoodie. The application of Foucault's heterotopia into performance; the space made livable by a mental, quite before than a physical, act. Breathing of the folds. Friction of the gaze. Darkness of the skin, darkness of the scene. A kinetic performance is about to get going. So now, just push play. 16 Renzo Francabandera, Art thrives on corpses: Sylphidarium by CollettivO CineticO, Pane Acqua Culture, 02/12/20177 17 translations: 10 mini-ballets 18 Pina Bausch, Kontakthof mit Damen und Herren ab 65 [2000] e Kontakthof - Ein Stück von Pina Bausch mit Teenagern ab 14 [2008]. 19 «Unlike marching columns, swarms have no need of sergeants or corporals. Swarms find their way infallibly, without the interference of officious superiors and their humdrum orders. No one guides the swarm to the meadow in bloom; there's no need to keep the members of the swarm in check, lecture them, spur them to action with force or threat, make them toe the line. Anyone who wants to make a swarm of wasps go in a particular direction, should plant flowers in the right meadow rather than educate each single wasp», ibid. 20 Translation: No, we won’t destroy […] 21 Marco Argentina, Theory in practice. Francesca Pennini’s prospectives - interview published on 09/03/2016 in Ipercinetica, a blog created for the Bologna Festival dedicated to CollettivO CineticO. 22 translation: Diluting the proximity. Public actions for private spaces 23 translation: ::D - retinal monoscripts about the obscenity of the teeth 24 translation: XD – loose vignettes for topical use 25 translation: Welcome Human Just push play So, let's play. English is the world's most widely-spoken language after Mandarin Chinese. The verb play has a wide range of meanings: to perform on a musical instrument, to act, to joke, to take part in a game, and so on. Let's push play. Let’s get it on. Description of the game: it's part a role-playing, part a parlor game - where the parlor is staged for contemporary society, where its synaptic roots lie; it also has elements of chance, that state of mind that's somewhere between awe and suspense. A movement game [where ‘movement’ is synonymous with ‘kinetic’]. And wordplay, too. A game of logic and strategy; a game of construction, a simulation; a virtual game, a videogame, sometimes a wargame. Bodies in contact, touching from a distance; lines of contact, dancing while chatting. With an impressive track record for a company that's barely ten years old, CollettivO CineticO is a game for grown-ups, a board game that revolves around virtual senses and hyperreal non-senses, whose repertory «can be interpreted as a single corpus combining a great diversity of elements, all of which lead back to a key tenet of “ludoscenic” theory, container of that grammar of play which Huizinga described so well in his famous essay Homo Ludens16» - essay in which, in his 1973 introduction, Umberto Eco examined the notion that the original source of culture is nothing but play. Rules of the game: when the going gets tough, etcetera: once upon a time there was Marcel Duchamp, cornerstone of contemporary art, and a chess fanatic to boot - he even claimed not all artists are chess-players, but all chess-players are artists. It's in the same ready-made spirit - borrowing Duchamp's gift for looking beyond the form of things - that CollettivO CineticO approaches its role as Master of Ceremonies. A shaved neck and a wig on back to front stands for a face devoid of expressive power [Eye was Ear, 2008], a roll of cloth unfurled in the time it takes to play Vivaldi's Baroque aria Deh ti piega - metaphor for the violent act of explaining an opera [*plek-, 2012], a mass of inanimate white feathers comes to life and dances, thanks to a drone [10 miniballetti17, 2015], ethereal sylphs of classical ballet, transgenically modified into sylph-larvae oozing in the moist earth [Sylphidarium - Maria Taglioni on the ground, 2016]. Pure applications of conceptual art by artists who know how to put themselves on the line, aware as they are of Heisenberg's indeterminacy principle and risk evaluation techniques [The uncertain scene, 2010] that allow them to work on the essential moment of unpredictability that gives life to every dramaturgic act, on every stage they tread. This title may refer to: This is a disambiguation page. If you got here via a hyperlink, you can go back and correct it. See also articles which start with or contain the word "Play". - Just push play – thirteenth studio album by Aerosmith, released on 6 March 2001 on the Columbia label - Play [verb] – perform on an instrument, act, participate, fool around, represent, make believe, exhibit, direct - Play [noun] – game, action, match, drama, fun, space to move, joke, work of theatre - Play – an album by Moby from 1999 - Play – single by Jennifer Lopez from 2001, taken from the album J. Lo - Play – DVD by Peter Gabriel from 2004 - Play – US videogame magazine - Play Framework – web application framework - Play – Polish mobile telephony operator Note to readers: if you thought for a moment when reading the box above that you'd stumbled upon a Wikipedia disambiguation page, congratulations: you've just experienced a Foucauldian heterotopia, of the kind so dear to CollettivO CineticO. No need for further selection - you're ready for the game.
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