Loosely based on the recent publication of Nijinsky’s uncensored diaries, the multimedia dance work in collaboration with Charleroi Danses interprets the changing definitions of the “normal” and the “pathological” and the processes of societal normalization. The work is set to tour typical proscenium theaters, thus the norms of theater space are under interrogation. Unlike the proscenium which separates the audience from the narrative space of the stage, the interscenium, composed of a 45° mirror over the stage, splinters the gaze of an audience and allows for a simultaneous plan view of the stage in which choreographic patterns are revealed objectively and spatial inversions made possible. When combined with a video projection, the mirror synthesizes dancers into a hybrid space combining the rules of stage and screen. Dancers can enjoy two types of hypervirtuosity: live dancers are freed from the confines of gravity as the mirror reorients space 90°; pre-recorded dancers are freed from the confines of bodily physics as their actions are produced through electronic morphing technologies. In addition, an optical tracking system adapted from Gulf War technologies follows pre-determined stimuli and draws real-time trajectories which are projected onto the mirror.
