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Homo Instrumentalis brings together four compositions exploring our relationship with technology: “Machinations” by Georges Aperghis (2000 – version Silbersee 2017), “La fabbrica illuminata” by Luigi Nono (1964) and “Ode to Man (part 1 and 2)” by Yannis Kyriakides (2017).

We hear admiration for human ingenuity, fear of industrial machinery, as well as satisfaction with the conveniences of the digital world.

On the basis of these compositions, Silbersee blends song, dance, electronics and video art. Homo Instrumentalis is a visual music performance about man and machine. Floriaan Ganzevoort made the set- and light design for this performance.

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Press
The Financial Times wrote:

breathtakingly virtuosic (…) Sophocles’ praise for man’s supremacy is tinged with warning, and the sense of foreboding is underscored by Floriaan Ganzevoort’s gloomy lighting and sinister industrial sets. (…) Homo Instrumentalis is not for the faint-hearted, but it is a phenomenal achievement.”

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Credits:
Performers:
Fanny Alofs (Alto), Miguel Angél Gaspar (Dans), Jennifer Claire van der Hart (Soprano), Eléonore Lemaire (Soprano), Jorge Morro (Dans), Carl Refos (Dans), Michaela Riener (Soprano/Mezzosoprano), Johanne Saunier (Dans)
Live-Electronics:
Wouter Snoei
Composers:
Georges Aperghis, Luigi Nono, Yannis Kyriakides, Wouter Snoei
Musical direction:
Romain Bischoff
Choreography:
Johanne Saunier
Video:
Frederik Jassogne, Bart Moens (Hangaar)
Set design, light design:
Floriaan Ganzevoort (De Theatermachine)
Costume design:
Dieuweke van Reij
Choreographic & artistic assistance:
Juliette van Ingen
Dramaturgical advice:
Wout van Tongeren

Photography: Caroline Seidel en Floriaan Ganzevoort