ballet digitallique is a performance animation installation.
It captures the visitor´s silhouette, ads color to it and sends it to a screen setting where it joins others previously captured in an ever changing dance composition.

computer art

its structure encloses a 3D motion capture database that meets up with each 2D colored silhouettes right away it has been captured. A realtime animation emerges from the automatic interpolation of small sets of movement retrieved from the system’s bones database, dressed with the flat colored silhouettes. This is the first time MoCap is used for a dance work in Brazil.


the MoCap system used for capturing small sets of movement modules has been a proprietary one, but the resulting raw movie files have been translated to open source code by the programming team. From then on, they have used OpenFrameworks for image, Python for integration and Blender game engine features to assemble ballet digitallique’s system.


the movement library in its database has been created based on Laban’s method of movement analysis. Between many other significant contributions for movement and dance study, Rudolf Laban has developed a system to observe and describe the whole repertoire of human movement.
The choice for this method is due to its plastic multiplicity of combinations regarding dynamic and lack of style marks. The database can be enriched with new movements in the same structure if the project gets funding for new versions.

effort actions

Laban has reached a synthetic classification of four basic movement factors: Space, Time, Weight and Flow.Eight basic distinct states of action derivate from different graduations of effort performed on the combination of movement factors. He named them:Slashing, Gliding, Pressing, Flicking, Wringing, Dabbing, Punching and Floating.
Movement modules performed by the real dancer followed a score based on the mentioned eight different effort actions. The ballet digitallique’s system database has been created with these movement modules translated into digital information.


the sound is also created as modules refering to each movement module. It is cast accordingly with the movement modules assemblage for each silhouette on stage. The resulting music is also a realtime composition resulting from the superimposing sound layers according to the action on screen.

two installation settings

1- visitors have their silhouettes captured and colored.

2- silhouettes appear dancing on the long screen panel.


Once the first capture of silhouette is made, ballet digitallique starts its action and continues during the whole exhibition period by combining new entries with previously made ones when low input of new silhouettes happens.
Forms, colors, planes, motion and sound interact continuously onscreen generating the choreography of ballet digitallique.


creation, choreography and direction
Lali Krotoszynski
Laban expert and MoCap dancer
Lenira Rengel
software engenniring and design
Ricardo Palmieri
Roger Sodré, Angelo Benetti and João Bueno
Motion Capture system and studio
RPM Produtora and Digital Spirit
Dudu Tsuda
video and photo
Inês Correa and Maíra Spanghero
Diego Avila
Lali Krotoszynski and Rogério Salatini
sponsored by
Instituto Itaú Cultural


Uma resposta para english

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