Movement 360° stems from the idea of a three-dimensional body that does not require years of experience, but rather the proper use of tools to gain versatility when connecting and functionality with the creative power of movement. What does 360° mean? We mean that we work with the body as a living volume, in relation to time and space. We work on the fundamentals of contemporary dance, floorwork and other movement techniques to build a broad base for mapping the bodily territory. We use acrobatic resources to inhabit space in a more three-dimensional way in our dance, expanding movement in multiple directions that allow us to think of the body towards 360°. On the other hand, we hold that the body is an energetic channel in expansion
On the other hand, we hold that the body is an energetic channel in expansion. That is why 360° work is not limited to the anatomical, but instead opens itself to new dimensions, integrating the physical with the expansion of creative energy. Movement 360° is based on 7 principles that guide us towards three-dimensional organization, economy of effort and scenic versatility. We will learn to work intelligently, optimizing our energy bar (and our effort), challenging our “autopilots”. We explore criteria for opening and closing, the manipulation of time and space, and the relationship with music or silence, optimizing decision-making in the integration of improvisation with scenic creation. We will build tunnels towards scenic states, unlocking obstacles and gaining more and more power and energy in the essential dance and research of each person.
This laboratory is aimed at dancers and performers who want to enhance their creativity and stage presence, exploring the body on stage and developing tools to create performative material.
The laboratory is structured in three phases:
In the initial phase, we introduce a glossary of scenic tools: each concept is named and recorded, establishing a shared language that lets us communicate without interfering with the creativity of the participants. These tools, based on the fundamentals of physical theater, allow for a solid reading of spatiality and scenic timing. This phase is formative, and participants leave with a clear scenic map that they can later apply to other creations and to the search for new creative material.
We develop tools to sustainably enable the “tunnel” into the scenic state. Any creative idea or gesture arises from this state, and we build a clear reserve that allows us to return to it instantly at any moment, recognizing with precision the boundary between everyday life and the fictional or performative state.
We investigate specific physicalities for the development of physical dramaturgy, exploring different qualities of movement and integrating diverse gestures, tones, rhythms, weights and extensions that transform the everyday body.
Building on what has been worked on, we seek to develop scenes or a piece depending on the context of the workshop, drawing the previous work together to generate meaning, dramaturgy and staging.