Series BAU – Choreography of thinking


I became more and more interested in the interaction between body and mind, visible and invisible. I asked myself: What is it to be a body that has matter (to be a body and to have a body)? Or what it is to exist in pure mental and energetic spheres?

Would it be possible to find a way to perceive a unity between those two poles? And how can the process that leads to this state of unity be translated in a choreographic language?

I directed my study on how the « action of thinking » and the perception create processes and « spaces », which might possibly be named and which exist not only mentally, but physically, in our body as well as in the observer’s bodies. By investigating the relationship between matter and not matter, the action of thinking and the perception I created a methodology, which medias are movements and spoken words.

The performance series BAU – Choreography of thinking is based on research that investigates the most instinctive part of human beings, including their subconscious, as well the conscious perception of reality. Having been begun in 2013, this exploration has resulted in a work method applicable to dance and other performing arts. It focuses on the invisible connections between body and mind, activated in real time by the interaction between the performer and the viewers in a kind of dialog between their respective internal spaces. Over time, this practice was transformed into a precise stylistic approach, which puts the audience at the center of investigation – demonstrating the necessary and crucial polarity of any performance. The central question, which in a way is secularly mystical: “What does it mean to exist simultaneously in matter and non-matter? Is it possible to find a mode, a space that facilitates the perception of the unity between these two conditions?”

BAU #1 starts from the attention to the processes created by the “action of thinking” and the intentions such processes can produce. For example, in a space, how can we recognize a change in energy, understood as a state of the presence of the performer and the public? Starting from some practices related to meditation, BAU #1 explores the phenomenon of disembodiment in choreographic terms, creating, seeking and recognizing the moment of separation and detachment between the action of thinking, and thought itself. In order to try to focus on that indefinable condition of presence-in-absence, between mind and body, the areas of the non-human and non-verbal are explored, across movement and word. This production aims at constructing, experiencing and analyzing a guided meditation, as an inner process in dialogue and in interaction with the audience.

BAU# 2
continues  the research embarked on in BAU #1, studying in depth and in performing terms the processes that occur between thought and perception when they occur in a shared space; and how these can turn into a physical exposure, both in those who act and those who observe them. In particular, BAU # 2 wants to be an area for the verification of a mental state that allows the body to move in a specific frequency, on the border between rationality and the unconscious, finding the rhythm and condition that allows the performer to activate and incorporate a possible balance between thought and perception. The creative process is based on the development of practices that tend to expand the “Consciousness of the body” and the “Consciousness of the mind”, moving from the ritual to the performative. These practices – “Meditation of thinking”, “Meditation of the body”, “Meditation of the voice” – generate specific states that create a performative presence and a specific choreographic language. At the same time the process feeds on the connections with some theories on mental and physical processes treated in bioenergetics (Lowen). This creation takes shape and changes in the encounter with the public. The elements word, voice, body and lights create a real choreographic code aimed at creating a reality between the visible and the invisible, the material and the immaterial. BAU # 2, ultimately, is a ritual movement.

Winner (ex-aequo)of the Premio Scenario 2017
with BAU #2 – From the Series ‘Choreography of thinking’

BAU #2 by Barbara Berti (Bologna)
It strikes the ability to create a scenic language in which physicality and work on the body create the word by defining an innovative and original artistic identity.
The precise quality of the research process, also nurtured by meditative and ritual practices, it defines a hypnotic and engaging choreography, a real awakening of the body, created by pattern and composition in real time. Barbara Berti explores the stage space and the interaction with the audience.
Jury of Scenario 2017

TEXT extracted from: Carlo Rovelli (About’Time does not exist’)

The first studio of the Serie is:
BAU #1 – An interactive piece

Concept, choreography, dance, text: Barbara Berti
Assistant choreography: Liselotte Singer
Dramaturgy advice: Carlotta Scioldo

Co-production Mibac, Tir danza, Ariella Vidach, Ballhaus Ost, Habitat (Fienile Fluò, Leggere Strutture ). Residency Santarcangelo dei Teatri

Premier 8th 9th 11th February
Ballhaus  Ost

with the support of the Finnish Cultural Foundation & Haubrok Foundation

BAU #1 – An interactive piece
(Italian entire version)
Premier Bau#1 (Entire version and in Italian)
11th November
Autunno danza Festival

Concept, choreography, dance, text: Barbara Berti
Dramaturgy advice: Carlotta Scioldo
Assistant choreography: Liselotte Singer
Production: Mibac/TIR Danza
with the support of Ariella Vidach
Support residencies: Ballhaus Ost (Berlino), DiD Studio NAO CREA residenze, Santarcangelo dei Teatri, H(abita)T – Rete di spazi per la danza

BAU #1 – An interactive piece
(First studio in English – work in progress)

Presented in 100° Festival and in Musterzimmer (Berlin)

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