Loosely based on the recent publication of Nijinsky's uncensored diaries, Moving Target reinterprets the changing definitions of the "normal" and the "pathological" as well as the processes of normalization.
Unlike the proscenium which separates the audience from the narrative space of the stage, the interscenium, composed of a 45° mirror/projection screen over the stage, This mirror splinters the gaze of the audience and allows for a plan view of the stage in which dance patterns and structures are more clearly visible. When combined with a video projection, the mirror synthesizes dancers into video space. Live and pre-recorded dancers can enjoy two types of hypervirtuosity: live dancers are freed from the confines of gravity as the mirror reorients everything by 90° and the pre-recorded dancers are freed from the confines of bodily physics as their actions are produced through morphing technologies. In addition, an optical tracking system follows pre-determined stimuli and draws real-time figures that are projected onto the mirror.
RICARDO SCOFIDIO Professor Emeritus, Adjunct Faculty