Txt: Massimiliano Schiavoni / Eng: Chiara Resmini
They are four young artistic realities from “our nursery”: fortunately they always keep up with the times and they are very creative and original, an inexorable and continuing but well-selected and creamed-off mine of talented people. The performing art, able to contaminate and represent all kinds of visual arts, dances and dramaturgies, sounds and special effects, installations and showings, has become the daily bread of the young contemporary people.
From Apulia to Romagna, passing from Rome , there is the strong necessity to express oneself in any way and in any place to realize a dream or to be successful and discover one’s own identity. I’m teatro indipendente, Valentina Caggio, Hotel Nuclear and Keramik Papier have different stories as regards their culture and histories, their nature and points of view, but they feel, try, express themselves and experiment in the same way, they are wishful and determined artists, who have been able to wait and aim at their targets, to work hard and meet with difficulties, to get over them and communicate. And they have done it with honour, receiving excellent criticism at Spazio Off in Trani, at Premio Scenari , in Faenza and Ravenna theatres, during Riccione TTV and Crisalide Festival , during MUV in Florence till Santarcangelo dei Teatri or at Teatro Palladium in Rome . Their modern realism is a plain, transfigured or alienated reality that is sometimes contradictory, thus resulting in a series of possibilities that are possible and decisive solutions illuminating and dramatizing reality itself. Their ethics and morality distinguish themselves for the enchanted use of conscious and inner, social and sometimes mysterious languages, which are the material with which they autonomously elaborate the representation.
Satisfied and cruel view of reality, estrangement and demystification, modern dialectics and historical reasons; a new aesthetic-gnosiological sensitivity coming from their own feelings and their presence in a contemporary world they feel and have to change.
The I’m teatro indipendente theatrical association has been an informal group since 2007 and works in its seat in Trani. It is composed of director Anna Di Pinto who is also co-author and actor together with Maria Filograsso. The playwright and video maker of the association is Domenico De Ceglia, who is also a lecturer and has a long experience in workshops and seminars in schools and universities as well. Giuseppe Carbone is the stage technician and stage action painter, whereas Ignazio Leone deals with light design and sound. Stefania Occhionorelli is the costume-designer and Wanda Perrone Capano deals with photography. They are the winners of Principi Attivi Apulia Region with “Il teatro forum: bullismo” and they produced the show “Ione dell’arte e del talento” by Plato, arriving at the semi-final of Premio Scenario 2009 as the only group from Apulia with the work “Waiting for a dinner W4AD”.
“Acidalia, a post-modern woman within a perfect loneliness, does everything to be up to the time in which she lives, and she creates, in her mind, a perfect projection of herself that is nothing but the result of her disease: she is bulimic. Amaturia is the estranged part of the self that materializes. We tell a state of alteration because we live in a period of alterations, in which people talk less and less about bulimia, because the West of magazines, of fashion shows and girls without fat and pimples, of women which are extremely thin and have boobs like two balls and the arse like a little lamb, IS BULIMIC. Acidalia needs to eat to FORGET HER LONELINESS. Amaturia is the very disease and needs Acidalia to live and punish herself. We wonder about that abstract moment of pain and loneliness that brings people to eat a lot and then vomit as a metaphor for the emptying of the pain. The two women are waiting for a man, not banally the love but a comparison with ‘the other that is true’ and not a projection of oneself, we are not interested in telling the end of the disease or its cause, but in telling ‘the disease’. There is not any happy ending and it is not a tragedy, but it has the sense of a long-lasting wait like with the two characters of Godot, in a time that runs and on which we depend ”
Valentina Caggio was born in Faenza. She is a dancer, choreographer and dance teacher in dance schools and psychiatric centres in hospitals and prisons; she studied with Michele Abbondanza and Antonella Bertoni. She also studied with Carolyn Carlson, Simona Bucci, Larrio Ekson, Gillian Hobart, Teri Weikel, Virgilio Sieni, Mauro Bigonzetti, Nienke Reehorst, Inaki Azpillaga, Roberto Castello and Emio Greco, then coming to butoh dance with Ko Murobushi. She took part in Choreographic Collision , some choreographic routes with the artistic direction of Ismal Ivo at Biennale Danza di Venezia 2007 . In 2004 she founded the theatre and dance company IRIS, where she is a choreographer and dancer. Among her productions there are “Eros”, “Di quasi”, “Non mi lasciare, lasciami andare”, “Per l’amore e Alice nel buio delle meraviglie e il salone delle meraviglie”: these two last shows are theatrical sense experiences in the darkness. She produced a lot for the theatre for boys and girls, for example “Pierino e il lupo danzano” e “Chi la fa l’aspetti! Il cavaliere che diventò un fiore”, put on during various national festivals.
The show “Di quasi” draws its inspiration from ” Alice in Wonderland” by L. Carroll. The beginning of the research starts from the workshops of theatre and dance held by Valentina in a psychiatric day centre. “It came to life after reading and rereading a text, which is poetry, nightmare, growth and awareness, violence and aggressiveness, but above all it is a dream, a desire of one day. While dancing and creating choreographies there are not ill people or the distinction between healthy and unhealthy any longer; making art valorises their integral and vital aspects, since creativity has to do with the healthy part of a person and strengthens one’s own identity. For this reason my work is political: it tries to remove the stigma from our society; because we all feel a little intolerance and fear towards these people” .
“Sia” is a dance around mysteries: “The Angel that generates the whole story, the dramatic and theatrical narration of a life, is mysterious; something aerial, maybe the unconscious, something inexistent that leaves indelible marks. The birth from darkness to light through the body (your own and your mother’s body) is mysterious. Love is mysterious. Watching your child die is mysterious. That God wants to join men and make them participate in His divine nature is mysterious” . The last work that was designed as a sense route in the darkness was “Alice nel buio delle meraviglie”, produced by Damiano Folli as well and presented at Teatro Rosaspina in Montescudo (province of Ravenna), wondering about the condition of blindness to discover the wonderland that is in all of us.
Hotel Nuclear is a project that was created in Emilia Romagna in 2004, produced by arto-zat, and it is composed of researchers/experimenters of music and image. Their works express, with music, videos, installations and performances, the artistic freedom of the visual artists who, today more than ever, want to make works of art live between digital and analogical, real and virtual, mixing and bringing into play, near electronic philosophy, the experimentations from the late Sixties, paying homage to the research on the motion of objects of the avant-garde cinematography; they read it according to the codes of the graphic design of computers, from environments to performances, from the “artist film” to the video performances, from the analogical experimental music to the electronic sound, creating a sound space that is parallel to the visual space, both presented with the digital support of a video and expressed in the performative action of the space.
H. N. is coordinated and directed by Giancarlo Bianchini, an actor, scenographer and composer of electronic music, who took part very actively in the theatrical project Motus in its first decade of life and is currently an external collaborator of the group, with which he was and still is a great protagonist of the stage and its planning, from the installation to the performance, from the stage sculpture to the sonorisation of environments. At the moment he collaborates with Mathilde M. M. Poirier, a video artist and performer devoting herself personally to all the video productions of the group. For two years H. N. has had its seat in Berlin as well, where Martha Zapparoli, with the project Penelope.X , works and collaborates with several music researchers and experimenters coming from different European countries and from America .
The group currently collaborates with several realities of theatre, cinema and music research, such as Motus, CPAC contemporary performing art center of Novi Sad , Zapruder filmakersgroup, M. M. label and Phil Ogison. “End game ” is the title of the new installation/performance/audio/video project of the association and the first boxed set including DVD-R/CD-R on M. M. label is due to release in 2009. “A violin exhibited on a pedestal waiting for an automatized violence accompanies technological instruments, synthesizers, computers, record players, but above all the electrical appliance par excellence used during the period of the Avant-gardes: the radio. The variety of radios on two shelves forms the metropolitan skyline. The stratified use of distortions, radio waves, frequencies and voices draws inspiration from the artistic thought that in 1915 praised ‘the total abolition of technology’. The rhythmic accompaniment establishes ‘an architectonic order in the mass media disorder’, of a nuclear era belonging to a more current scenario. The city, with its ‘non-places’, is often considered the cause of the sense of isolation, of a tendency to the introspection and alienation of the individual; here it is not a place of loss of one’s own identity, but a place where people can become aware of their individualism” . The performance deals with the theme of “the soul landscape”: the subject that sinks into an “inner space” has to face the mirror of the true reality, which is the sum of all the possible infinities, the summary of all the contradictions, an all-embracing macrocosm that only mythic imagination is able to sound.
Keramik Papier is an artistic pair based in Rome and created in 2003 by Danilo Morbidoni, born in 1975, and Sara Panucci, born in 1980. Since 2008 it has directed the festival of performative events “BESTIARIo”. In 2007 it took part in the final of the Premio Scenario and in Santarcangelo Festival with “Verranno a prenderti”. It collaborated with Pathosformel , with choreographer Annika Pannitto and Karas ( West/Mirage , last production, finalist project of the Premio Equilibrio 2009 with the support of Dansateliers, Rotterdam; DE.MO) and in different ways with the art magazine Drome Magazine ( L’esecuzione , Short Theatre, Teatro India, Rome; Fede , Almadromestica, Rome; Gloomy Sunday , Mak Nite, Vienna). An active collaboration with numerous expressive languages, which passes through solutions suggested by the place. For this reason, this artistic pair looks for non-theatrical spaces as well that favour the meeting between daily and extra-ordinary life. With an emotional impact allowing the spectators to be (directly or indirectly) involved in the action.
Syntactically, “Verranno a prenderti” meets a codification need regarding the reflection on mass and consumption culture of today. “Starting from the work of Erwin Wurm, a minimalist and conceptual artist, for his ironical approach to culture and society, anthropological and social studies have entered the creative process; these have extended our research on the man as a passive residue. La vetrinizzazione sociale ovvero il processo di spettacolarizzazione degli individui e della società (by Vanni Codeluppi) identifies the focus of the analysis, shifting it from mass media. The improvisation process that develops during the rehearsal has started an inmost route passing from different ways: there are not the men within the social status of which they are victims any longer, but men defining society with their actions. Performers create, through their presence, the open and reassembled structure. Images of bodies between discipline and imagination, physical endurance, hesitations, gravitation, coincidence and freedom, possibility. Body control on one hand and extreme fragility on the other. Working on the idea of superfetation, we arrive at the de-construction of the structure. The whole process involves a suspension, it is based on wait and produces emptiness, removal, till nakedness. Dance without the form of dance, poetry without poems, emotions without emotiveness” .
West/Mirage involves two different research realities, a choreographic one by Annika Pannitto and another working on the space/light vision by Keramik Papier. This collaboration started following a complex project where different experimentation levels interact with their own languages and aim at making the spectators the last stage of a stratified elaboration: an absolute space that is crossed, at the same time, by light, sound and body. The strength of the body as a dramaturgical element is divided into two routes investigating different directions . “On one hand a restless body that almost refuses the rules governing it and determining both its movement and behaviour, which nearly incites to abuse; on the other hand a body wishing it could be lost in a condition of precariousness, linked to the perception of a space that does not offer clear points of reference” .