The Audition 1.0




Very inspired by shadow theatre, [The Audition 1.0] can be understood as a translation of the “object-light-shadow” trilogue into “projection-light-body”. Finding its composition (and perceptive) core within the question about the relationship between what is saw and what is not, the piece is conceived for one percussion player and an audio-visual setup composed by: 4 semi-transparent screens (2×1,80m.), 4 loudspeakers and 4 sets of MIDI pads and pedals. This installation builds up a sort of wall between the audience and the performer, who continuously moves through a corridor behind; besides, this barrier constitutes the projection surface.


The performer appears in front of us as a sort of ventriloquist, controlling the dramaturgical development of this particular scene. Little by little, the legitimacy of the power relations is put into a question and all the bodies, real and virtual, permeate their qualities while exhausting themselves.


Its title, The Audition, is a reference to a double reality dealing with both, the theatrical situation created from the presence and the answers of the “virtual percussionists” and the player’s task regarding performance of the piece itself. On the one hand, the first group seem to be recorded beforehand while auditioning for a professional place in an orchestra: they play different excerpts or answer a series of questions about their identity and other several topics; on the other one, the physical percussionist is challenged in a very different way: he/she is confronted against technology, in front of an audience that is looking how a pre-established script is filled. Just the process becomes a way of extenuation itself, a theatre with all its canonical ingredients. Its shadows are reflected into different dimensions that not only concern to space, but also to meaning, in a broad sense, and time.