Phrases by Giordana Patumi.
The Aperto Pageant produced by I Teatri di Reggio Emilia, now in its 14th version, runs from 16 September to 19 November 2022 and has all the time proposed with its programme of performances an investigation into up to date expressive languages ranging from reflections on wide-ranging themes. Seeing past is the very impulse, concern and raison d’être of theatre, of this advanced materials artwork, and of the individuals who work in it. A seek for fact that prompts questions, probing actuality.
This 12 months offered 36 exhibits, a complete of 49 performances, 8 productions and co-productions, 6 world and Italian premieres, live shows, operas, performances, choreographies, installations, multimedia to transcend appearances. I’ve determined to comply with completely different trajectories in selecting the exhibits to see, in search of a contemporary take a look at up to date and efficiency languages.
On 18 September 2022, on a sunny Sunday afternoon, a big circle of chairs surrounds Joan Català, a French circus artist, who arrives right here with certainly one of his classics, a good looking and entertaining present, Pelat, during which the codes of stay efficiency are blended: nobody can be shocked if one spoke of this creation as a efficiency act, or road circus, or participatory theatre.
Holding the strings of every part, in a literal sense, is an artist able to protecting 100 or so folks glued to their seats, who change into utterly subservient to his inventive design: he performs for an excellent quarter of an hour with a really heavy wood pole, with which he performs actions so refined as to frame on choreography. A gymnastic follow of the very best degree, to which is added a design of motion, within the area of the efficiency, able to going past the straightforward bodily truth, to change into dance, with out ever failing to knead the gesture with a steady reference to the viewers, in a creation of mute empathy, however all the time tending in direction of irony, in direction of clownery.
This magnificence then begins to play with the viewers’s fears: she brings the pole in movement, or hovering, or spinning, very near the spectators, raises it and makes it fall a brief distance from them, after which includes them in a collection of participatory theatrical actions that progressively improve the comedian character of the efficiency.
As all the time with nice artists, actions of specific complexity seem easy, within the success of which the spectators change into concerned. The sensation that comes on the finish is nearly a message of social psychology: no hero stands alone. There all the time must be not less than somebody there to maintain issues in steadiness, to assist, to imagine within the gamble of the courageous.
A present that retains you glued to watching from the primary minute to the final. For anybody who has a competition with an open-air area, it ought to completely be scheduled.
Pelat is pure magic, ephemeral, created within the right here and now. It’s a circus present for the sq.; it begins with a heavy tree trunk, a person and a circle of strangers – who by the tip of the present flip right into a residing, joyful group. Pelat is heat, expectation, energy, rigidity and magical, spontaneous participation. Pelat is poetry of the physique. Pelat is innovation, motion and collective motion. Pelat is dangerous, honest and vital creative motion that momentarily interrupts all attainable divisions, making a shared expertise of the world. Joan Català addresses our needs: to belong, to help one another, to marvel, to play. He reminds us of the worth of lightness, of not taking ourselves too severely. Pelat creates a circle of belief and helps us to change into higher neighbours, one another.
#2 – Annie Hanauer An area for all our tomorrows
In An area for all our tomorrows, the Italian premiere that the Pageant Aperto proposes on Saturday 8 October, 6 pm, on the Teatro Cavallerizza, Annie Hanauer, impressed by the historic group of artists of Monte Verità and relating herself to the worldwide pandemic emergency, displays on the historic and up to date concepts of utopia, doing in order a lady and as an artist with a incapacity.
In An area for all our tomorrows, Hanauer makes an attempt to “channel and present the search for utopia, focusing on its manifestation through the body and movement, and leaving room for multiple perspectives.”
“I think about,” writes Annie Hanauer, “a efficiency that may be without delay highly effective, intense and messy, but in addition uplifting and alluring. Along with two dancers and a musician I’ll seek for possession of the physique, pleasure and energy, and the concepts of ‘nature’ and ‘naturalness’ in relation to utopia and the physique with disabilities.”
Annie Hanauer’s work delves to completely different depths, when the connection with one’s personal physique is now not restricted to being a drive and turns into a propulsion in direction of contemplation and understanding of the opposite. Hanauer brings An area for all our tomorrows; along with her are dancers and choreographers Laila White and Giuseppe Comuniello and singer Deborah Lennie. On the centre of the stage, Lennie sings of an ideal world, vivid and clear, the place there are not any gender distinctions and each physique is free to indicate its type, and behind her advances the compact mass of three united our bodies; little by little the spotlights vigorously illuminate the person parts of the mass. Three revolutionary our bodies.
The sunshine from the spotlights is mirrored on the steel parts of Hanauer’s prosthesis and White’s crutches. Every of the dancers takes the limelight for themselves whereas their recorded voices narrate them; though a chaotic scenic situation is rendered as a result of it’s extra targeted on the one expressive second than on a way of concord, it’s proven that every motion is the utmost their our bodies can try for, not less than up to now. The’ll to movement is an affirmation of presence. Comuniello’s voice explains blindness as immersion in water. White rises up on the luxurious muscle groups of his arms enhanced by his situation; Hanauer rotates his arm. When the oneness wears off, it turns into pure to recompose right into a single, self-sustaining organism.
An unimaginable artistic-ethical imaginative and prescient on the a part of the LAC in Lugano and Teatro Danzabile for producing this unimaginable work and for bringing Italian-speaking Switzerland’s consideration to bop and to our society to the highest.
#3 – Martin Zimmermann with Danse Macabre
The Swiss artist Martin Zimmermann arrived on the Aperto Pageant (Reggio Emilia, Italy) along with his newest creation, born through the pandemic rethinking the idea of our society. We’re speaking about Danse Macabre, an over-the-top work that mixes theater, dance, music and clowning, tracing the artist’s grotesque stylistic signature. The dancer, choreographer, playwright, director, and light-weight designer lately gained the Swiss Grand Prix of Performing Arts/Hans Reinhart Ring 2021 exactly for his means to fuse the performing arts collectively and growing their boundaries.
The extremely atmospheric set design recreates a desolate landfill. A distant place shrouded in fog, for a efficiency that speaks of a subject pricey to Zimmermann as social exclusion, usually accompanied by menace and loss of life. Out of a big piece of cardboard emerges a clownish-looking fellow, tall and skinny, sporting a skeleton costume and a black leather-based jacket; he has a skull-painted face and lengthy dreads; he noisily clicks his tongue and makes humorous rat-like expressions; his actions and dance steps explicitly recall Michael Jackson. This weird determine, performed by Zimmermann himself, embodies Dying, who will usually peep in to orchestrate and touch upon the motion, as a sort of stage servant. The three disturbingly misfit characters, are every trapped of their respective loop and from which they can not break away, till they establish with that place so forgotten by all. They determine to maneuver in collectively, out of a primal want for contact, to seek out themselves in a group that can make them really feel half of an entire for the primary time. So, to welcome them is a home consistently within the steadiness, which each homes them and throws them again into an countless loop. Amongst them, loss of life: it creeps silently and wreaks havoc, extends its hand, after which takes two, and nearly with a mocking, spiteful air creeps via the areas left between its victims, making them unaware of its presence. A distressing dance takes place on this paradoxical jail, nearly as if it have been the efficiency of a circus made up of human masks that exceed the conceived limits of the grotesque, hiding contained in the empty distress of the human situation. But, on this most tragic scenario, the characters dance together with loss of life, not surrendering however welcoming it in an important momentum, which makes the present all of the extra unsettling and blended with a lot bitterness.
Together with Zimmerman on stage, Dimitri Jourde in an uncoordinated outdated boozer with an enormous stomach; Tarek Halaby who performs the position of a would-be and inappropriate magnificence queen; then there’s she, Methinee Wongkratoon: probably the most curious and intriguing creature conceivable. Every of them seeks a solution to be on the planet (whether or not unstable acrobatic steadiness is the way in which to go?), and the procession begins to maneuver in a chaotic carnival circus.
Martin Zimmermann does skillful and exact work on the tragicomic. Danse Macabre proposes to the viewer a collection of photos during which the grotesque is taken to such an exponential degree in its tragicize that it’s, at instances, comedian: a pregnant girl who, after having given start to stones beforehand felt as a burden in her womb, is in the hunt for self-acceptance and her personal magnificence; a person who tries onerous to carry out elementary actions however finally ends up failing every time, from tying his shoe to sitting on a chair, all objects that appear to need to slip out of his arms; a lady who appears caught in convulsions from which she can not free herself, as if her personal limbs have been the partitions of a cage. These are all work that painting features of life which might be all too day by day and that exactly of their simplicity assemble paradoxical scenes. On this approach, Danse Macabre performs on a continuing steadiness between bitter tragedy and bitter comedy, following the principle-explained by Zimmermann himself-that to push the tragic to the ridiculous is to permit oneself to rise above it. The bittersweet in Danse Macabre comes throughout as violent, aggressive, but in addition partaking within the wake of these humorous circumstances unconsciously created and skilled by the characters themselves, the viewers inevitably will get carried away and laughs and desponds collectively beneath the prevailing signal of loss of life.