CASE STUDY / PRODUCTION 03
EAT ME NOW — FLUX Crew
CASE STUDY / PRODUCTION 03
EAT ME NOW — FLUX Crew
CASE STUDY / PRODUCTION 03
EAT ME NOW — FLUX Crew
VENUE
VENUE
Roxy Birsfelden und Gessnerallee Zürich
Roxy Birsfelden und Gessnerallee Zürich
DIRECTOR
DIRECTOR
Arlette Dellers
Arlette Dellers
YEAR
YEAR
2025
2025
PRODUCTION TYPE
PRODUCTION TYPE
Contemporary Dance / Installation
Contemporary Dance / Installation
01 / THE CONCEPTION
What do you find sexy? Which bodies, actions, or images do you find attractive—and why?
What do you find sexy? Which bodies, actions, or images do you find attractive—and why?
What do you find sexy? Which bodies, actions, or images do you find attractive—and why?
For EAT ME NOW, the physical structure of the stage was completely dematerialized. We built a shallow, seamless bases covering the stage floor, filled water that acts as a giant black mirror reflecting both the light and the dancers' bodies.
For EAT ME NOW, the physical structure of the stage was completely dematerialized. We built a shallow, seamless bases covering the stage floor, filled water that acts as a giant black mirror reflecting both the light and the dancers’ bodies.
The stage needed to push the boundaries of the piece concept . Sexiness. Water was essential to interact with the dancers costumes and change them trough the performance. The stage is divided in tow massive water trays that build the tension in the middle void. In the background tree display cases stand individually where the dancer stand as an object on sale.
The stage needed to push the boundaries of the piece concept . Sexiness. Water was essential to interact with the dancers costumes and change them trough the performance. The stage is divided in tow massive water trays that build the tension in the middle void. In the background tree display cases stand individually where the dancer stand as an object on sale.
“As a dance piece it was important to have enough space for the perform itself. A key element that shape the design, was for the space to be accessible.”
“As a dance piece it was important to have enough space for the perform itself. A key element that shape the design, was for the space to be accessible.”
“As a dance piece it was important to have enough space for the perform itself. A key element that shape the design, was for the space to be accessible.”
Andrea C.G.
Andrea C.G.
Stage designer
Stage designer
Fig. 01 — Water enhance the dance moves, and lift the sexy theme.
Fig. 01 — Water enhance the dance moves, and lift the sexy theme.
Fig. 02 — Volumetric light displays capsule the dancers as an object of desire.
Fig. 02 — Volumetric light displays capsule the dancers as an object of desire.
Fig. 03 — Final scene panorama, the stage needed to be accessible and comfortable for all our dancers.
Fig. 03 — Final scene panorama, the stage needed to be accessible and comfortable for all our dancers.
SPEC / TECHNICAL LEDGER
Scenography
Scenography
Andrea Castanon Gillessen
Andrea Castanon Gillessen
Primary Materials
Primary Materials
Acrilic, LED, and wood
Acrilic, LED, and wood
Optical elements
Optical elements
Tree volumetric prisms, two water mirror trays
Tree volumetric prisms, two water mirror trays
Lighting Concept
Lighting Concept
Narrow-band LED neon strips & side incandescent floor lamps
Narrow-band LED neon strips & side incandescent floor lamps
Water Volume
Water Volume
985 liters
985 liters
Accessible ramps
Accessible ramps
Each prism have a 2mm - 2% grade detachable ramp
Each prism have a 2mm - 2% grade detachable ramp
02 / DESIGN PROCESS
A circular communication with the performers
A circular communication with the performers
A circular communication with the performers
The safety and comfort of the team was an important element that shaped the design of the stage. Everyone needed to be able to move throw the hole stage
The safety and comfort of the team was an important element that shaped the design of the stage. Everyone needed to be able to move throw the hole stage