BRUNO

A piece by Alix Eynaudi / Lighting design Bruno Pocheron

Factual Description by Jan Maertens

Seated and waiting for the performance to start, i couldn't help to catch a glimpse of the gigantic LightMachine installed on stage and waiting for us in the semi-darkness. The house lights dim and it was by surprise that the stage got boldly lit by another light source than (from within) the LightMachine. A series of 3 consecutive prominent light ignitions from behind my back install a super bright white-light-to-become: we can undeniably recognise the ignition of gas lights units with their transitions over brief moments of an explicit underweight of other than some greenish and reddish parts of the visible spectrum. All this leading to the establishment of a boldly angled and swiftly bright white overhead front light universe to a first part of the choreography with dancers nicely doubled out by their long and sharp shadows onto the white dance vinyl. No further light changes. The staged LightMachine stays idle, be it merely providing a spatial context for the choreography while casting its own shadow onto the back wall.

Black Out and more Silence. Ready for part 2? Not yet. First we have to sit out the silent black out. Great!

Still in the dark, a sound scape, clearly coming from what-was-thought-to-be-a-LightMachine, establishes itself. A pipe orchestra reveals itself only in an audible way as if some one was playing the LightMachine as an organ. While the surrounding darkness invites us to imagine to play along with the many light fixtures of which the LightMachine is formed of. Or how total darkness doesn't mean at all the negation of visual information... (though I must admit that the one futil standby-LED of the emergency light was interfering a little with the full-on experience:-(

Light Out and ready for part 2 of the choreography: the repetition of 3 consecutive light ignitions open up the space again and welcome a third dancer on stage. Again only sounds generated by the dancers themselves are forming the auditive universe. Again only the 3 overhead stadium lights are informing the visible universe. Is the LightMachine, although fully cabled up and clearly ready to strike, really just contextual information?

Black out 2

Credits

The fellowship of BRUNO is composed of Hugo Le Brigand, Mark Lorimer, Alix Eynaudi, Cécile Tonizzo, An Breugelmans, Bruno Pocheron, Paul Kotal