︎The sound and music in La Reina del Metal are raised as a dramaturgical element that interacts with Vanesa Aibar’s dance.
︎The wide palette of colors offered by Enric Monfort’s contemporary percussion joins live electronic elements and live processing, as well as field recordings and sound documents.
︎With the dancer’s movement through space, all these sounds come to lofe independently and they interact, dialogue or merge with her thanks to the technology developed by 4DSOUND.
︎The sound software serves the poetic purposes of the show and offers full immersion to the audience, which is prefereably placed around the scenic cube delimited by chains.
︎La Reina del Metal is therefore considered as an immersive show with a three-way public setting adaptable to the different spaces that could host this project. An experience in which, in addition to the plasticity of the dance, the audience will be able to have a complete experience with the sound embodiment proposed by Aibar and Monfort.
︎The wide palette of colors offered by Enric Monfort’s contemporary percussion joins live electronic elements and live processing, as well as field recordings and sound documents.
︎With the dancer’s movement through space, all these sounds come to lofe independently and they interact, dialogue or merge with her thanks to the technology developed by 4DSOUND.
︎The sound software serves the poetic purposes of the show and offers full immersion to the audience, which is prefereably placed around the scenic cube delimited by chains.
︎La Reina del Metal is therefore considered as an immersive show with a three-way public setting adaptable to the different spaces that could host this project. An experience in which, in addition to the plasticity of the dance, the audience will be able to have a complete experience with the sound embodiment proposed by Aibar and Monfort.