CREDITS

Choreography & Performance: 
Silvia Gribaudi

Music
Composition by Mauro Fiorin
based on La Traviata (‘Sempre libera’) by Giuseppe Verdi
The Passenger by Iggy Pop

Produced by Associazione Culturale Zebra Impresa Sociale ETS

VR
Direction: Enya Belak
Filming and Post-Production: Igor Crnković
Sound Recordist: Ivo Vičić
On-Set Assistant: Francesca Albanese
Photography: Marjan Crnković, Enya Belak
Production Management: Hrvatski kulturni dom na Sušaku / Croatian Cultural Center (HKD)

A partnership project between CoisCéim Dance Theatre, Hrvatski kulturni dom na Sušaku / Croatian Cultural Center (HKD), Ringside & Pilot Media and Silvia Gribaudi / Zebra Cultural Association

Filmed in VR 180° stereoscopic in various locations in Rijeka, Croatia

May 2026

ABOUT

It begins with Silvia Gribaudi’s award-winning solo A CORPO LIBERO, presented in 180° virtual reality. Filmed live on the streets of Rijeka in Croatia, the VR experience places you right in front of Silvia as she moves, up close in vivid 3D – provoking questions about how technology can dance with our perspectives of beauty and what we see.

Funny, bold and full of heart, A CORPO LIBERO celebrates imperfection and the freedom of being yourself. It is an uplifting and accessible introduction to the joy and power of contemporary dance.

DIRECTOR’S NOTE

A CORPO LIBERO is a classic. It has been performed live in various contexts over the years, in front of diverse audiences, always through direct interaction with people, whether spectators or random passengers. When thinking of Silvia Gribaudi, the first thing that comes to mind is humour.

I was particularly interested in the challenge of translating this interaction and humour into the virtual world, where Silvia’s reactions could no longer arise spontaneously in direct dialogue with the audience, but instead had to be carefully choreographed and directed. What is especially powerful in VR is the possibility of working with physical proximity as a principle that can evoke a wide range of reactions and emotions — from awkwardness to laughter, as well as a strong sense of intimacy and connection that each spectator can experience individually from the same position.

Most of what we filmed was carefully planned — including the birds. However, the public remained entirely unpredictable. For the scene with the pigeons, we had to return to the location several times. Originally, the scene was meant to feature seagulls, which were always present there — except when we actually wanted to film. In the end, we decided to work with pigeons instead, who proved to be very cooperative with Silvia Gribaudi.

Similarly to the way Silvia uses time and rhythm in live performance to create connection, tension, and release, we use the rhythm of editing to guide the audience on a journey, following Silvia through various locations in Rijeka. We selected the locations carefully, considering lighting conditions, shadows, sun exposure, ambient atmosphere, and the movement of the public. We then structured the material by searching for the right balance between staged elements and the spontaneity of the public, the surroundings, and Silvia’s responses to them.

This is also what gives the VR experience a sense of liveness: despite its carefully structured framework, it still allowed Silvia space to improvise and preserve spontaneity — something that can be deeply felt and recognised by the beholder.

– ENYA BELAK, MAY 2025