Corporeizar la sonoridad a través de la danza: Los ecos rítmicos de Stravinsky en el ballet iTMOi de Akram Khan

Abstract

The sound awakening of the body, in its rhythmic existence, refers to a ritual essence as the purest aspiration of what dance beam in humanity. Music, dance and poetry, were they not once mousiké? Were they not the same, together with the visual arts, those that appear mimicmized in an idealization of the theatrical stage model? So, why limit interartistic confluences in the expression of human discursive pathos? Stravinsky’s sonorous echoes are the pretext that justifies making the sound found in dance, the rhythmic echoes of a narration that is not exclusive to a single grammar. The texts take place around a mythical-ritual aura in which the abstraction of latent spaces rescues the voice of an-other, which can be a self or an us. Rhythmic spirituality is issued as a semantic discourse by which to make the body sound, the voice listed, the noise melody and the harmony body. Khan’s iTMOi, will be the evolution of this plural reading of the sound body.