Un groupe de personnes de dos, regardent l'écran d'une tablette numérique où apparaissent des personnages en réalité augmentée.
Une personne tient une tablette numérique devant des enfants, et ils regardent une scène en réalité augmentée qui se déroule dans un stade.
DANCE INCREASES THE REAL
The company creates courses in augmented reality located in real environments: the dancing bodies increase the landscape. With his smartphone, the public gives rise to immaterial dancers in the physical world.
Two temporalities then overlap: the present tense experienced by the audience, and the time of the dance filmed upstream. The real environment, the present time, includes the landscape in which we find ourselves, but also the beings and objects present. If someone passes in front of the screen, they will be included in the image.
Relationship to spaces
The company's augmented reality creations develop from a fiction: the places contain dances. These dancers live here, in a dimension invisible to the naked eye. They are there, waiting for someone to make them appear.
Augmented reality renews the relationship between dance and landscape. The places inspire the dance. Dance gives a new reading to spaces, whether they are everyday environments or places of heritage, urban or natural landscapes, or exhibitions.
The smartphone as an exploration tool
The smartphone is the tool that gives access to this invisible strata, this space between oneself and the real landscape that harbours dance.
By diverting the smartphone from its usual use, the company seeks to reconnect with the mediating dimension of the object, which becomes a tool of potential resonance with the world, and not a tiny world in itself.
Immersive broadcast mode: new way of apprehending a show
In her courses in augmented reality, Natacha Paquignon offers a non-linear narration that gives an active place to the public. A treasure hunt in real space that invites him to get lost, to walk at his own pace, to do the course in one or more times. In a marked and directive urban space, she wants to constrain the public as little as possible in their choices, and let the unexpected happen.
The creations are designed to remain on the scene as long as the treasure hunt is present in the real space.
Collective experiences of superimposed realities: performances
For the inauguration of the dance courses, or as part of various events, the company creates ambulatory choreographic performances that accompany the creation in augmented reality. These moments offer the public an experience of superimposed realities: the physical dancers dance with the immaterial dancers. Reality and fiction intertwine.