Emerging from a poetic and procedural dialogue between sound, image and movement, Pan de Neve proposes a scene-as-score structure rooted in minimalism, animism and real-time improvisation, drawing from the prior project Sons-Nús – Catro Nubes but expanding its scope through a refined sensorial dramaturgy, the performance unfolds across ten sound fragments—or places—activated by five bodies on stage: voice, contrabass, saxophone, vibraphone and the orbiting presence of live visual art, here, scenography is not background but a field of resonances, where gesture, drawing, and botany form a visual ecosystem that converses with music, the use of macro botanical photography (ashes, whites, pinks, dandelions) and symbolic drawings rooted in animist archetypes allows the scene to breathe as both archive and invention, geometric floor designs, natural objects and projected images act as minimal visual scores—some static, others modulated live via camera inserts, a technique enabling dynamic shifts between recorded image and close-ups of faces, hands or detail textures, the atmosphere is one of quiet intensity, where light and shadow oscillate like breath—warm browns, side lighting, vertical focus, all articulating a sacred minimalism, conversations around this process reveal a shared intuition among collaborators to prioritise poetic coherence over technical maximalism, forming a scenic grammar based on austerity, rhythm and presence, at its heart lies a collective listening, a willingness to let music influence image, and image influence body, generating a hybrid ritual of sound, silence and light.
Scenography, minimalism and animist time in visual scores -https://antolloveras.blogspot.com/2026/01/scenography-minimalism-and-animist-time.html - SONS NÚS - https://antolloveras.blogspot.com/2023/05/sons-nuscatro-nubes-maite-donovozbaldo.html
