STeReo

STeReO stages a body in exploration — a body that fights and fights with itself, divided between judgements, legacies and a visceral desire to discover and to reveal itself.

A body that becomes other bodies: a screen, a reflective surface in which to examine the unease of living in an uncomfortable container, in a covering of skin and bones permeable to the harmful weight of words and thoughts imposed from outside.

The stage action thus becomes a device of struggle, a space of redemption, of discovery and of reaffirmation.

The word “stereo” comes from the Greek stereós, meaning “solid,” “firm.” In sound, it refers to the diffusion of sound through two channels — right and left — capable of creating a three-dimensional, immersive perception of space.

This double meaning, linguistic and technical, becomes the starting point of the work, where the body is conceived as living, solid matter, yet at the same time traversed by waves, vibrations and interferences.

The etymology returns also in the research on the body in movement, which begins from the concept of stereotypy: the involuntary, continuous repetition of gestures or sounds, often understood as a strategy of emotional self-regulation or a response to states of anxiety.

Transposed into the performative realm, this idea becomes a physical language of resistance and survival: a gesture that, from automatism, transforms into affirmation.

Genesis of the idea and development of the project

STeReO thus arises from the desire to investigate how the body can react to the pressures of social models and stereotypes that condition its form and behaviour.

Through a symbolic and provocative use of the audio-stereo system, the performer is in constant dialogue with her own sonic image: sounds become choreographic material, a field of friction and of identity rewriting.

The body, immersed among multiple sound sources, is forced to choose, to react, to transform. In this way, the performative device becomes a space of struggle and reaffirmation, where repetition is no longer a cage but a possibility of redemption, and dance becomes an act of self-reappropriation.