MEDIATHEK

This concert is a panoramic action, a gesture of resonance to the music composed by Keith Jarrett during a concert in which he performed solo improvisations in Sapporo (Japan) in 18.11.76.

Our proposal is a scenic agreement in which the bodies of two dancers and some machines dialogue with Keith Jarrett’s music. This agreement is the solitary dance of two bodies, like two liberties that inhabit the stage with no pretense of finding or dramatically confronting one another. The concert involves this movement of the bodies alongside with the one of some machines that present the beautiful and catastrophic movement of their own decadence – in other words, a constant movement that progresses towards self-destruction.

The Last Agreement proposes a possible dissection of the musical composition of the concert performed in 18.11.76. This dissection allows us to construct a different nudity to the one of the image of a body without clothes. The nudity we propose is that of the machine’s mechanism, be this machine scenic, somatic or mechanic. All of this is an act that enters into the polyphonic structure of every movement – from the silence of the streets in the winter to the agitation of a worn body – in order to go back to the experience of what a surveillance camera or what an endoscope would make visible. In The Last Agreement, the human scale measures everything; it is the scale that measures the concert (the music or the sonorous stimulus) and the volume of an immense space. Everything is measured by the solitude of the human body, loneliness with no possibility of ceasing. This is how, in the end, this project gives us an idea of life: despite being surrounded by seven billion human beings we remain alone in our personal journey and in that what happens to us.

To refuse invisibility the body acts by imagining narratives and filling the stage with senses, a stage that exceeds the physical architecture, by having always too much height, too much depth and too much width. The somatic machine constructs its identity thanks to volumes that always overwhelms it. The beginning world is, thus, nothing but solitude as so it is its destiny.

The sonorous stimulus manifests itself and comes into relation with other components that create mental images, precisely because we move this stimulus to the center of the event. We create a space-time in which the stimulus is a detailed and privileged construction, and where hearing is no longer the habit of appropriating things.