In Unraveled Heroes, choreographer Maya M. Carroll and Fattoria Vittadini create seven individuals who re-experience earth, nature, home and human gravity. Landmarks, time cycles and chronologies are made up to anchor longing and interactions, as the playground of imagination becomes an event of profound existence. Invisible / visible walls shape rooms where characters emerge and meet, perform simple, concrete, urgent, strange encounters, reinvent rules of logic and cross borders of convention. Residue and resonance become a climate under which all performers exist with endurance, desire, struggle and vulnerability.
Choreography – Giulio D’Anna
Romaeuropa Festival, November 2014 International tour 2014 – 2015
The choreographer is inspired by the “Museum of broken relationships” in Zagreb to orbit the theme of failed relationships and its ruins. The material presented is generated by the Curriculum Vitae of the performers and Italian statistics. Interpreters are asked to articulate verbally and physically memories and experiences of intimacy wound. The performers embrace the idea of exposing their feelings and memories as in a ritual act, a cathartic ceremony.
The work explors the idea of Italy and international and national ideas about being Italian. Past and present, feelings and physicality, playing with the concept of family, traditional values, stereotypes, myths, legends and their personal reality. Relocating, rearranging and staging voluntarily this series of fragments in this context traditionally Italian, as opposed to alternative and queer.Matanicola intend to explore the idea of fragmentation, creating a composition with fragments originally found and developed in various well-selected areas and situations, like taking care of these fragments, which carry with them specific memories, images and feelings, can be joined together to create a new surprising result, reframing, and transforming their original nature.
A classic of Italian contemporary dance, Calore has not aged in 30 years. Poetic manifesto for non-dancers, post-punk visionary journey, illusion-less regression into an infinite adolescence, this piece strikes us with its vigour and rhythmic composition. The show is a visionary voyage in which the artistic interpreter is asked to embark on a sort of regression, to trace out the pattern of an endless infancy and adolescence.Giuseppe Bartolucci, the unforgettable theoretician of the new theatre movement, wrote about the show as follows: here gymnastics and dance step forward and are contaminated, sweat is accepted as a passage, physicality is permeated by continuous and endless ignitions, on principle the fall-back of rest and interval is not contemplated.
We’re born with a bullet in our head. That’s a fact.
We need a delete button. That’s another fact.
There’s not enough Kit Kats in the world to solve our problems.
There’s a default network, the part of your brain that allows you to daydream.
The only thing to do is find our delete button, maybe a refresh button, the right one to take out the bullet and keep it in our pocket. It’s always gonna be there to remind you to stop wasting time thinking about these things and go on with your life.
MY TRUE SELF is a choreography for the 11 performers
The work strives to expose the mechanism of the desire to be someone else as a means of liberating one’s ‘true’ self and achieving self-fulfillment, and explores the evolution of that desire into the creation of a new and effective image-of-self. Through the employment of images constructed from their respective inner-worlds, the dancers mark territories for themselves in the public arena and set off to tackle the challenges of their separate existence within the safety of a group.
“Pour un herbier” it is a contemporary dance show site specific for the Pomodoro Foundation in Milan thought and adapted to the works of Cristina Iglesias. Works by Cristina Iglesias, as they are presented in the exhibition space, subconsciously suggest the beginning of a path, a garden in which to perceive the idea of an artificial nature tamed and impenetrable.
“This project was designed and arranged with the collaboration of the dancers who have created their own movement material with the music of John Adams, which I have chosen for them. In these rapidly changing times we are continually forced to adapt to new conditions and situations and I have asked the dancers to reflect on how this affects the creative process for them as young artists looking from the outside in and the inside out.”
In a white empty space, with an electric cello, 4 figures begin by simply standing – and continue on to an exploration through layers of the found, familiar and fantastic. Relating to one another through role playing, they test the physical and emotional boundaries that separate them. The work develops through a repetitive configuration, which entangles them, as it attempts at defining and redefining itself.