I Wandered Lonely As A Cloud_X2_”O”
Una serata che mette in risalto le peculiari cifre distintive dei tre Centri di Produzione della Danza italiani. Apre la serata DanceHaus Company / DanceHauspiù di Milano con I Wandered Lonely As A Cloud del coreografo Matteo Bittante: i versi del poeta inglese Wordsworth fanno da sfondo al rito bucolico ed errabondo dei tre danzatori in cui la forza vitale e la quiete idilliaca della natura si contrappongono ai turbamenti e alla confusione della città. Scenario Pubblico/Compagnia Zappalà Danza di Catania presenta in prima nazionale x2, atto d’amore artistico che Roberto Zappalà vuole dedicare al grande compositore Johann Sebastian Bach. Chiude la serata la Fondazione Nazionale della Danza / Aterballetto di Reggio Emilia con “O”: Philippe Kratz e Ivana Mastroviti si muovono verso il ritmo infinito dei loro cuori inarrestabili in una coreografia entrata da poco nel repertorio della compagnia, ma già molto applaudita in molti teatri.
Choreography Matteo Bittante
Music various authors
Dancers Fabio Calvisi, Alice Carrino, Giovanni Leone
“I wandered lonely like a cloud” is the beginning of one of the most famous poems of English romanticism written at the beginning of the nineteenth century by William Wordsworth. In this new creation by choreographer Matteo Bittante, co-director and resident artist of the National Centre for Dance Production, DANCEHAUSpiù, the poet’s verses form the backdrop to the bucolic and wandering rite of the three dancers in which the vital force and idyllic quiet of nature contrast with the upheavals and confusion of the city. In the poetry, as in the show, the real protagonists are not the men but the elements of nature such as the lake, the narcissus or the clouds with which the bodies of the dancers try a possible metamorphosis.
Notes of the choreographer
I lived my childhood on a hill, in the middle of nature, running from one meadow to another, climbing the trees, I was always in constant contact, almost symbiotic with her.
Since ancient times, the countryside and rural life have served as a source of inspiration for many artists.
An idyllic place of escape, a refuge from the duties of life, once for the exploration of the self.
A landscape of the soul, today to be defended and protected against the ideologies of an era that contaminate and desertify Mother Earth.
Choreography Roberto Zappalà
Music Johann Sebastian Bach
Dancers Maud de la Purification, Roberto Provenzano
Costume and lighting design Roberto Zappalà
Costume realization Debora Privitera
Technical director Sammy Torrisi
Production Scenario Pubblico / Compagnia Zappalà Danza
This short episode begins the act of artistic love that Roberto Zappalà wants to dedicate to great composer Johann Sebastian Bach. No dramaturgy, no intellectual reasoning, just a close relationship between music and dance. On the other hand Zappalà has made Charles Baudelaire’s thought his own: “Glorifying the cult of image and aesthetics is my goal even before its meaning”.
The creation represents one of the phases of a path divided into three different moments/episodes: x2, x4, which are also the respective numbers of dancers on stage, while the third episode will be a creation for the entire Company and will see its debut in autumn 2020. The final project will be inspired by the different versions that have been created and “remade” over time.
Choreography Philippe Kratz
Music Mark Pritchard and The Field
Costume design Francesca Messori
Lighting design Carlo Cerri
Dancers Philippe Kratz and Ivana Mastroviti
Production Fondazione Nazionale della Danza / Aterballetto
First prize at the 32nd Choreographic Competition in Hanover – June 2018
Philippe Kratz is a member of the stARTacademy of Bayer Arts & Culture.
The idea at the base of “O” is eternity and how attaining it is humanity’s ultimate goal. As in the summer of 2017 in Hong Kong for the very first time two humanoid robots vocally interacted with one another it became clear to anyone watching that a future, in which accumulated human knowledge is passed on by communicating inorganic material, is within reach.
Therefore “O” can be seen as two human beings or two robots celebrating in a state of transcendence and emotional fulfilment, both moving to the never-ending beat of their unstoppable hearts.
And as the spaceship computer Hal in Stanley Kubrick’s movie ‘2001: A Space Odyssey’ puts it: “I know I’ve made some very poor decisions recently, but I can give you my complete assurance that my work will be back to normal. I’ve still got the greatest enthusiasm and confidence in the mission. And I want to help you.”