Natura Sonoris


Dialectics between two languages, two forms of matter


OPEN LAB COMPANY Copyright 2011
by Laura Colombo e Luca Ruzza

With: Laura Colombo | Custom Software: David Dalmazzo/ Pasquale Direse | Digital setup: Pasquale Direse, Daniela Dispoto e Stefano Di Buduo | Animation 3d: Lorena Munini e Elettra La Marca | Press office: Alice Ungaro | Logistic : Benedetta Ruzza | Consultancy: Salvatore Passaro | Photo: Zeno Maria Ruzza | Sound design: Paolo Modugno OASI Studio | Music: Bernard Parmegiani | Kronos Quartet | Claudio Monteverdi | Video shoot: Momchil Alexiev | Editing: Bernardo Vercelli e Fabio Di Salvo

“Natura Sonoris” explores the complex relationships between two elements, the dialectics between two languages, two forms of matter; organic and inorganic, living and inert, body and light. The structure does not follow a principle of combinations, instead choosing to respect the unique nature of each element. They each feed off each other and thus come to life. The empty scene sees the darkness pierced by luminous symbols designed in real time, which expand and intercept the limits of the space, revealing the performer’s body and matter. This discovery of movement pierces through to universes that are constantly expanding; their evolutions see them lose and rediscover their meanings, transforming and creating infinite identities.
The body’s extension reconfigures the elastic relationship between space and time; it mutates from the past and becomes a prophecy of the future, challenging the stagnant perception of things. Abstraction and figurative blend before our gaze, trembling and dispelling the limit between the human body and landscape. Fragments of a tale where choreography and luminosity replace literary dramaturgy. Word is lost. Sound summons the beyond.

Laura Colombo and Luca Ruzza formed their theatre company, the Open Lab Company, in 1992. A multifaceted duo unafraid of expressing themselves in different mediatic languages, new media and using unique specializations. They use a theatrical language that blurs the line between installation and dance-theatre. Their performances use the full potential of darkness to weave a landscape where visions of the real are constantly offset and challenged by optical illusions. The performer’s presence cannot be truly described as human but rather mutant, disorienting, transporting us to universes inhabited by animal and vegetable forms, beings that emerge from the remote recesses of our memories.
The music is their first source of inspiration. The acoustic dimension plays a fundamental role in this concert of pulsating images, frames without narrative development, a timeless soundscape that avoids contextual references, where sound is matter, vibrantly perceivable.