Margherita Landi, Agnese Lanza
research: Seminar
Screens are progressively getting closer to the user, changing the interaction and the engagement between these technologies and the body. The content watched and how it is experienced has also a powerful impact on the emotional state, opening new forms of embodiment.
After several stages of research, Margherita Landi and Agnese Lanza approached Virtual Reality, developing a method playfully based on interaction between audiovisual material and movement.
This way of dealing with the VR generates two different levels of fruition: the dimension of an "inside" the headset, where an intimate experience only visible to the user takes place and, at the same time, an "outside" the headset, showing how the VR experience affects the body of the user.
Danzatrice contemporanea, ha lavorato con diversi coreografi come Rosemary Lee, Tino Senghal, Robert Clark, Anton Mirto, Maciej Kuzminsky, Sioned Huws, Virgilio Sieni, Company Blù e altri tra il Regno Unito, Italia e Giappone.
A Londra ha lavorato come direttrice di prove di giovani compagnie come Dance United Company, Trinity Laban Youth Company e Step into Dance Company, oltre che insegnare danza per bambini presso il Trinity Laban. Come coreografa ha creato “Inter Pares Project” (2013-2017); "In / ti / mo" (2018); "Tactum" (2019-21); "Tu-Torial" (2020); “La Reverie” (2021)più altri lavori commissionati, tutti in collaborazione con altri danzatori. Dal 2017 lavora come assistente artistica di Virgilio Sieni e come insegnante di danza per bambini e adulti in diversi contesti
research: seminar
Screens are progressively getting closer to the user, changing the interaction and the engagement between these technologies and the body. The content watched and how it is experienced has also a powerful impact on the emotional state, opening new forms of embodiment.
After several stages of research, Margherita Landi and Agnese Lanza approached Virtual Reality, developing a method playfully based on interaction between audiovisual material and movement.
This way of dealing with the VR generates two different levels of fruition: the dimension of an "inside" the headset, where an intimate experience only visible to the user takes place and, at the same time, an "outside" the headset, showing how the VR experience affects the body of the user.
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