on stage on 2nd and 3rd of March with “Solo andata” and on 14th of April with “The real you“
1) The title of the season is Vertigo. What is vertigo for you?
I imagine vertigo as a feeling of necessity for an uprooting from habits, a more flexible approach to learning how to process change without excessive trauma. Vertigo is the first phase of an inner rebellion that is slowly taking shape and occupying space. A vertigo is something that could also come to me when I decide to question the rules that had guided my life up to that point. A kind of emotional insurrection to everything that one has planned, or meticulously tried to organize over the course of one’s existence. Vertigo I also feel as something strongly related to fear, that “dizziness” when I am afraid of something. When not dependent on a cervical protrusion, vertigo is a message that reveals something we were burying.
2) What power does dance have to affect the world?
Dance has the power to act out another kind of world, not the one that every second is spewed in our faces in an overflowing and redundant way. I think dance has great power to tell a different life and not to continue a perpetual chronicle of what we already see in the everyday. Dance suggests a completely different way of interpreting the phenomenology of our existence. I don’t love trends, I love discovery, to be or not to be mainstream only changes something from an economic point of view, I don’t love repertoires, not even my own. I have always needed to do something new and the dance practice has helped me in finding something that resonates in an empty room, that doesn’t go to fit into so many little boxes, with the labels already affixed explaining to us exactly what we are going to see.
3) What journey do the three bodies on stage in SOLO ANDATA tell about?
SOLO ANDATA is a rarefied, slow journey, certainly compared to my usual “rhythms and frequencies.” It traces the confusion generated by the feeling of not having done enough, the desire to return home, the feeling of a journey that is never completed. How many times does it happen that you think of making a one-way ticket? Sometimes you realize that the one-way trip is always the one back home. I’ve been working on the feeling of a dilated time and atmosphere, at moments almost apathetic, a shared moment where there’s someone waiting for the other person to take the first step, to tell you something, to explain what it was like on the other side.
4) How does your choreographic practice lead to the discovery of the “real” self, “the real you” that gives your performance its title?
Choreography is an instinctive reaction to my personal difficulty in finding new language at times. Sometimes I feel that I have a limited vocabulary, although the Italian language is very rich, but I believe that nothing like movement can understand something more real than oneself. The Real You is a mixture of languages, a circular movement that demarcates a virtual field of action where you relentlessly confront all the humanity around you and figure out where you belong. A personal “mantra” of mine since I began choreographing, and that any narrative by definition can never be abstract, it nonetheless suggests and tells a precise story, as yet uncatalogued, thus a “present” story. The Real You is a dynamic process, constantly unbalanced and repositionable in a way that is directly proportional to the awareness one gains over time. The Real You begins and ends with one person being watched and controlled on “sight” by others. The constant noise of life leads to a distortion of the understanding of one’s own nature, the background noise is constant, incessant, sometimes there is nothing better than to return to the “center ” to regain a contact with one’s self.