A man and a woman are dressed in nothing but neatly tailored shirts. Side by side, they fold cuffs, collars – making gestures as if idly passing time on the street. Slowly, they react to a gradual loss of balance and try to avoid falling. Bathed in soft light, this mesmerising and gentle duet hovers between concrete reality and abstraction. It casts a spell that gradually fills the stage – and the body reacts to all this.
(Adapted from Matteo Antonaci)
A long title to stress the lack of an end or a constant, and at the same time subtle, transformation. To be dressed up without knowing where to go: to destroy the linearity of time, the beginning and the end, the body’s chance to find memory in the gesture, to crystallise the movement.
The bodies of the performers are, on this stage, pins of reality stuck in the weaving of the performance. They touch their noses, heads; they fold cuffs and collars as if they were surprised in the street, in a supermarket, or seated at an office desk. Only one limb remains still, as a goad sustaining all the weight of reality, as a trunk that digs and presses the land, vainly trying to draw out its own roots, to subsequently find itself out of balance, subject to all the force of gravity.
So the bodies of the dancers react, through the continuous transformation of their degree of presence and movement awareness, to a loss of balance, through a choreography composed by a limited set of patterns that every single performer can freely use to avoid falling. This bold use of “reality” – that beyond the metaphor skilfully touches the borders of performing art - is mirrored in an immaterial dimension that gradually fills the stage through the cyclical nature of movement.
Weariness is an escape route, contact is a form of protection to escape from the gaze of an observer that runs over the bare and sacred surface of the bodies without embarrassment or provocation. Everything lies there, in trying to foresee the abstract in the concrete and the reality in the abstraction, in the pale tints of the bodies and in the soft lighting of a form of warmth. And the body reacts to all this.
Choreography: Giorgia Nardin
Created with & performed by: Marco D'Agostin, Sara Leghissa
Research: Amy Bell, Marco D'agostin, Sara Leghissa, Giorgia Nardin
Sound Editing: Luca Scapellato
Lighting Design: Matteo Fantoni
Costumes: Edda Binotto
Developed as part of ChoreoRoam Europe 2012: CSC/Centro per la Scena Contemporanea Bassano del Grappa (Vicenza), The Place (London), Dansateliers (Rotterdam), Paso a 2/Certamen Coreografico (Madrid), Dance Week Festival (Zagreb).
Developed as part of B Project 2013: Jheronimus Bosch 500 Foundation (‘s-Hertogenbosch), CSC/Centro per la Scena Contemporanea (Bassano del Grappa), Dance Umbrella (London), D.ID Dance Identity (Pinkafeld), La Briqueterie-Centre de développement chorégraphique du Val de Marne (Paris), Dansateliers (Rotterdam)
Supported by CSC/Centro per la Scena Contemporanea - Bassano del Grappa, Graner/Mercat de les Flors - Barcelona, La Piccionaia/I Carrara/Teatro Villa dei Leoni - Mira, La Conigliera - Resana, INTEATRO Residenze - Polverigi, Teatro Fondamenta Nuove - Venezia, Associazione Culturale Arearea – Udine, Associazione Culturale VAN.