Anna Mustonen - COMING UP IN SPRING 2015: A new version of Di anima et di corpo!!!

COMING UP IN SPRING 2015:

A new version of Di anima et di corpo!!!

Anna Mustonen - Choreography: Anna Mustonen Dance: Saara Töyrylä Harpsichord: Marianna Henriksson Soprano: Katja Vaahtera Lighting design: Anna Pöllänen Premiere and performances 12. - 21.10.2012 Zodiak Center for New Dance Performed also at Full Moon Dance Festival, July 2013

Choreography: Anna Mustonen

Dance: Saara Töyrylä

Harpsichord: Marianna Henriksson

Soprano: Katja Vaahtera

Lighting design: Anna Pöllänen

Premiere and performances 12. - 21.10.2012 Zodiak Center for New Dance

Performed also at Full Moon Dance Festival, July 2013

Anna Mustonen - Sometimes music made their inner balance unstable: Shivering lips, sudden change in the shade of the face, slowing pulse, abrupt movement of limbs, release of tension in the jaw, the grinding of teeth, the swelling of blood vessels, uncontrollable gestures, wheezing breath.    

Sometimes music made their inner balance unstable: Shivering lips, sudden change in the shade of the face, slowing pulse, abrupt movement of limbs, release of tension in the jaw, the grinding of teeth, the swelling of blood vessels, uncontrollable gestures, wheezing breath.

 

 

Anna Mustonen - Di anima et di corpo is a concert or performance of intense emotions, combining 17th century harpsichord music and singing to new dance. The piece - performed by a dancer, a soprano and a harpsichordist - deals with big emotions using the Doctrine of Affects, theory of music in the Baroque era, according to which the function of music was to affect the listener’s body and emotions. Music was capable of arousing specific emotions within the listener, causing physical reactions. How can one move the souls of modern-day spectators?
Di anima et di corpo is a concert or performance of intense emotions, combining 17th century harpsichord music and singing to new dance. The piece - performed by a dancer, a soprano and a harpsichordist - deals with big emotions using the Doctrine of Affects, theory of music in the Baroque era, according to which the function of music was to affect the listener’s body and emotions. Music was capable of arousing specific emotions within the listener, causing physical reactions. How can one move the souls of modern-day spectators?