The body and the world are not static entities, but they are in constant flux, engaging in a reciprocal dance of influence and transformation. Human body is a reprogrammable system, capable of interfacing with dynamics. In the usual order of things, lives run their course and eventually one becomes who one is. Bodily and physic transformation do nothing but reinforce the performance of identity. But as a result of trauma, a subject’s history splits and an unprecedented persona comes to live with the former person. Out of a deep cut opened in a biography, a new being comes into the world.

In TERRAS, the focus of the choreographer Chrysanthi Badeka lies on the interconnections of destruction and rebirth, contrasting the disruptive plasticity of the human body-mind with other organisms and natural phenomena. The story evolves in a transmedia universe, through a journey, starting from the disruptive plasticity of heroine's body to sublime metamorphoses of the ethereal, bodily space. Exploring movement as an algorithm and merging choreography with programming and Virtual Reality, the artist questions how computational systems can be integrated into dance, inviting the audience to a shared sensory experience. The dancer's body, in this sense, becomes a living interface, mediating between different realms and triggering interactions that transcend traditional boundaries. Interweaving imagery with embodied cognition, she proposes choreographic space as an environment of meaningful action and extended thinking, through collective experiences emerged by the body and technology.

Transmedia performance TERRAS is an audiovisual narrative of kinetic episodes that explore the effects of sound, visuals, light, space and movement on human perception and emotion. The coordinated interplay of the minimal architectural layout – composed by two projectors, a floating circular surface and one performer moving on a glossy black square – creates a moving transmedia universe, a collective space for personal reflections. All elements (sound, visuals, light and movement) activate the stage space, highlighting various aspects of the constructed landscape and scenes that emerge through the body. Matter acquires organicity through movement, the body becomes simultaneously a transmitter and receiver, sound animates events and light interconnects the immaterial with matter from the stardust of a supernova to the immortal Turritopsis Dohrnii jellyfish.

In a dynamic interplay, formations of spatial light and sound emerge and dissolve. Light is transformed as an almost tangible material into an archetypical sculpture that, despite its abstraction, allows for very personal associations. The resulting forms of artistic expression, combined with corporality, the visual experience and synaesthetic sound, add a unique new dimension to choreography.