The piece proposes a reflection on the auditory stimuli that are experienced in the city.
What is silence for a body caught in the dynamics of today’s life? To what extent does noise affect our ability to listen?
The idea was born from various reflections on what silence really is.
The narration starts from the recent situation of global confinement and the transformation of the density of the surrounding sounds. The life of the individual and his loneliness, disconnection with the environment, non-identification and uprooting with a society increasingly blurred between work obligations and social restrictions.
No traffic, no cars, no people yelling in the street, for one reason or another. The sensitivity of listening affected by so many stimuli that they numb and “blind” our senses. A hand external to the world of the stage moves and communicates with the physical body, searching for a new language. As good as silence does, it can also be excruciating and fill us with anxiety. What brings me closer to silence is the willingness to listen.
A language that extends the scenic space and amplifies it in the interaction of the present body with the external elements of sound and image. Plastic faces pull the strings of events. Machinists of reality. Invisible. Universal. Omnipresent. Everyone.
La pieza propone una reflexión sobre los estímulos auditivos que se viven en la ciudad.
¿Qué es el silencio para un cuerpo atrapado en la dinámica de la vida actual? ¿Hasta donde nos afecta el ruido la capacidad de escuchar?
La idea nace de varias reflexiones alrededor de lo que es en realidad el silencio.
La narración parte de la situación reciente de confinamiento global y la transformación de la densidad de los sonidos circundantes. La vida del individuo y de su soledad, la desconexión con el entorno, la no identificación y el desarraigo con una sociedad cada vez más desdibujada entre obligaciones laborales y restricciones sociales.
Sin tráfico, sin coches, sin personas que gritan en la calle, por uno u otro motivo. La sensibilidad de la escucha afectada por tantos estímulos, que insensibilizan y “enceguecen” nuestros sentidos. Una mano externa al mundo del escenario se mueve y comunica con el cuerpo físico, buscando un nuevo lenguaje. A pesar de lo bien que hace el silencio, también puede ser insoportable y llenarnos de ansiedad. Lo que más me acerca al silencio es la voluntad de escuchar.
Un lenguaje que extiende el espacio escénico y lo amplifica en la interacción del cuerpo presente con los elementos externos de sonido e imagén. Rostros plasticos manejan los hilos de los acontecimientos. Maquinistas de la realidad. Invisibles. Universales. Omnipresentes. Todos.
La performance propone una riflessione sugli stimoli uditivi che si sperimentano in città.
Cos’è il silenzio per un corpo intrappolato nelle dinamiche della vita di oggi? In che misura il rumore influisce sulla nostra capacità di ascoltare?
L’idea è nata da varie riflessioni su cosa sia veramente il silenzio.
La narrazione parte dalla recente situazione di confinamento globale e dalla trasformazione della densità dei suoni circostanti. La vita dell’individuo e la sua solitudine, disconnessione con l’ambiente, non identificazione e sradicamento con una società sempre più sfocata tra obblighi lavorativi e vincoli sociali.
Niente traffico, niente auto, niente persone che urlano per strada, per un motivo o per l’altro. La sensibilità dell’ascolto risente di tanti stimoli che intorpidiscono e “accecano” i nostri sensi. Una mano esterna al mondo del palcoscenico si muove e comunica con il corpo fisico, alla ricerca di un nuovo linguaggio. Per quanto il silenzio faccia bene, può anche essere atroce e riempirci di ansia. Ciò che mi avvicina al silenzio è la disponibilità ad ascoltare.
Un linguaggio che amplia lo spazio scenico e lo amplifica nell’interazione del corpo presente con gli elementi esterni del suono e dell’immagine. Le facce di plastica che manovrano gli eventi. Macchinisti della realtà. Invisibili. Universali. Onnipresenti. Noi tutti.
Title
El silencio no existe
Company
Colectivo Cistifellea
Duration
30 min
Director, Technologist, and Visual Design
Elena Tilli
Original Music and Sound Design
Nicolas Cristancho
Performer and Choreographer
Susana Isunza
Camera on Stage and Tech
Dickens B. Rosales
Cistifellea ©2023 – All Rights Reserved
Composer, pianist, guitarist and percussionist specialized in Jazz and Afro-Caribbean music. Creator of soundtracks for audiovisuals and performing arts.
Song writer.
Double degree in Jazz Piano from the Universidad Javeriana de Bogotá, Colombia and the Escuela Superior de Música de Catauña, Spain.
Nicolás is the co-founder of the Cistifellea Collective together with the director and stage designer Elena Tilli, where he works as a sound designer, performer, and writer. His practice of improvisation and his emphatic approach during the process offers unique possibilities.
He investigates unconventional forms of participation of the public while attending a performance and as inspiration to his process with sound. He develops specific tools for interaction and builds custom-based small-scale instruments.
Using software, and electronic sounds, together with live played instruments, Nicolas allows himself a fullscale exploration that together with his wide versatility as a musician and composer, opens up a high level of complexity that translates into a beautiful, inspiring, and sometimes provocative experience for the public.
Nicolas is also a singer-songwriter, leader, and manager of the independent musical project Yurgaki since 2005.
Composer and co-producer of the projects Candombe Tierra, Sones de Marimba, Chonta Dura, in Barcelona.
His work has been presented internationally in countries such as Ecuador, United States, France, Italy, Croatia, Romania, Ecuador, Morocco, Azerbaijan, Colombia and Spain.
Nicolás also works as an educator for children, youth and adults. He promotes Afro-Caribbean music around the world through concerts and workshops where he spreads various musical genres, disseminating traditional music and transforming it through his own compositions.
Find out more at yurgaki.com
Elena is a multidisciplinary artist.
She insists on the body as the epicenter of scenic language while researching, studying, developing post-dramatic approaches to technological constructions she develops, engineers and builds.
Elena is the co-founder of the Cistifellea Collective together with the musician Nicolas Cristancho, in which she directs, and builds scenery, machines, and media design. She is also a video designer in the theater and her collaborations have been seen at The Kitchen Theater in New York, at the Barichstaadt Opera in Munich, and in public theaters in Barcelona.
After graduating in mechanical engineering (MA), Elena completed her education at Yale School of Drama studying Technical Design and Production and Design for Theater. She completed the three years program held by Claudia Castellucci at Scuola Conia Raffaello Sanzio focused on the Theory of Scenic Representation. Since 2021 Elena is an alumni Fellow at the Akademie für Theater und Digitalität, Dortmund with which she continues to partner and develop her work.
Elena creates visual experiences combining technical and technological elements, for a variety of artistic applications, such as performance, installations and theater productions. Her practice focuses on the process and aims to develop dramaturgies that inhabit technology, always guided by the commitment to find in the collaboration a unique and essential value.
n 2023 she directs, stage and technology design Coded Rituals together with Camila Scholtbach and NIcolas Yurgaki. The performance is co-produced by Cistifellea Collective and Theater Im Depot and it opened the Festival Beyond Gravity in November 2023.
In 2022, the performance Presence of Absent was funded by the Kulturbüro of the city of Dortmund and the NRW Kultur Sekretariät as part of the project Distant Land Vol I. It was seen at Lake Studios Berlin as a work in progress and later premiered at Theater Im Depot in February 2023.
With Cistifellea she directed the performances/long theater pieces Codes of Absence (2023), Presence of Absent (2022), Don’t Make it A Play (2022), Asuntos Humanos (2021), Todo Bien Todo Tranqui (2021), El Silencio no Existe (2020).
In 2023 she was the video designer and technologist in the theater piece Nomadas, premiering at Teatro OBando, Lisbon in April.
She also assisted video designer Susanne Steinmassl as a stage live camera coordinator, content creator and film editor in Die Nibelungen Festspiele in Worms in 2023.
In September 2022 she was part of Digital Body Archive residency at Lake Studios Berlin. Here she began, together with more than 15 fellows a research focusing on the principle of “no technology before need” (as suggested by TroikaRanch) as a start, to then tailor the technology she wanted to see by creating artwork that uses/misuses tech that was available.
In September 2022 she was also part of te project Togather with the installation titled Unlearning Journey into a virtual body. The project was funded by NRW Kultur Sekretariät and premiered at Favoriten Festival 2022 – Unlearning for Possible Futures.
With Cistifellea she directed the performances/long theater pieces Codes of Absence (2023), Presence of Absent (2022), Don’t Make it A Play (2022), Asuntos Humanos (2021), Todo Bien Todo Tranqui (2021), El Silencio no Existe (2020).
Find out more at elenatilli.com
