fermati

choreography and performance Bianca Berger
sound Jacobe Suissa
scenography and costume Sigrid Andréasson
mentor Quim Bigas
residencies Danish National School of Performing Arts, Lo Studio, Arbedo
duration 20 minutes

fermati is a performance that explores the dialogue between dance, Isomalt and mathematics (specifically, Fermat’s Theorem).
How do the three elements talk to each other? Which are the frictions? How does one serve another and how can a performance be created by the combination of them?

From Fermat’s theorem to dance and Isomalt
For the creation of fermati, mathematics has been used as a tool to make chorographical choices in terms of structure and dramaturgy.
Theorems in mathematics have their logic and order. Even if their content is usually different, they all follow certain rules and have a specific vocabulary that helps the reader understand and study it.
Specifically, they start with the introduction, where the main elements that are going to be “treated” are presented, then they expose a hypothesis which is followed by the thesis. I used this structure and order as a chorographical score to make the dramaturgy and the structure of fermati: watching the performance from the beginning to the end, is like reading the theorem from left to right. Moreover, I used its punctuation to make transitions between the different parts (and is a light crossfade, point is a blackout).
With a deeper study of it (if we study what it says) we can also connect it to dance elements

1: Fermat’s theorem. The introduction is composed by part 1 and part 2, the hypothesis is part 3 and the thesis is part 4

The role of Isomalt
The role of Isomalt has been on one side the medium between the theorem and dance, and the source of movement inspiration on the other. I first projected math into Isomalt. Once I found a possible answer, I used it as a source for movement, through listening to the sounds, and observing the fractures, with the dynamics created through the process of rupture.
Isomalt is going to be used on stage as a floor where I’ll step on and dance on.

Dance
Dance has been the tool to translate the theorem and the sensations given by Isomalt.
The movements on stage are characterized by two different qualities: the first one is fractured, sharp, hard, and precise (which represents the whole numbers and the big fractures on Isomalt) while the second one is sequential, small, fast, and fluid (which represents the fractional numbers and the small fractures created on Isomalt). During the whole piece, there will be various combinations of these two qualities, with some set material.
Bianca Berger