What does it remain today of a choreographic work that is considered a milestone in the history of Western dance at the beginning of the 20th century? In what forms has it survived over time? Who will take up its legacy?
The project Swans Never Die invites audiences and artists to think about The Dying Swan as an opportunity to learn about the many forms of its existence over time, since it was choreographed by Michel Fokine for Anna Pavlova in 1905.
Following the stages of this journey through the history and memory of dance, the spectator will be able to discover the bodies in which a choreographic work from the past survives, who takes up its legacy and the values it can transmit today and in the future.
The evening Swans_1 includes new creations by Chiara Bersani, Philippe Kratz e Silvia Gribaudi.
The performance will be followed by a talk hosted by the journalist Greta Pieropan.
Swans never die is a project conceived and realised by :
Lavanderia a Vapore – Centro di Residenza per la Danza (gestito da un raggruppamento temporaneo di organismi formato da Piemonte dal Vivo, Coorpi, Didee Arti e Comunicazione, Mosaico Danza, Zerogrammi)
Operaestate Festival Veneto e Centro per la Scena Contemporanea CSC Bassano del Grappa
Triennale Milano Teatro
Fondazione Teatro Grande di Brescia
Festival Bolzano Danza – Fondazione Haydn
Il Cassero LGBTI Center – Gender Bender Festival
Università degli Studi di Torino – Corso di laurea in DAMS
By and with Chiara Bersani
Scene and light Valeria Foti
With the collaboration of Richard Gargiulo and Sergio Seghettini
Vocal playwright Francesca Della Monica
Assistance to dramaturgy and promotion Giulia Traversi
Assistance to creation Marco D’Agostin / Elena Giannotti
Support to the creative process Federica Della Pozza
Production corpoceleste c.c.0.0 #
Co-production Operaestate Festival/CSC, Fabbrica Europa, Bolzano Danza |TanzBozen, Gender Bender Festival.
The animal is standing still.
The animal is a house.
The animal is a war memorial.
Did the animal fall?
No. The animal was under the table when everything was falling.
Does the animal travel?
No. There’s too much debris.
He could get hurt. More than this?
More than this might kill it.
The animal hears ghosts.
The animal chose them.
If you want to meet the animal, you have to ask permission.
Choreography Philippe Kratz
Dancers Antonio Tafuni and Nagga Giona Baldina
Original music Borderline Order
On commission of Festival Operaestate-Bassano del Grappa
The Dying Swan by Anna Pavlova and Michel Fokine is a representation of the final moments of a living creature and it alludes to the idea of transformation. We are observing a creature transforming itself into a different state of existence.
In a spiritual and philosophical perspective, we tend to use the word “passage” when referring to death because we see this process as a process of transition, just as all life can be seen as a sequence of transformations.
But is it possible to encapsulate a single moment in time? With this duet, I wanted to try.
The physical research is based on the idea of floating and fluctuating. Two bodies meet by chance because the currents of life have brought them together in the open sea. Something firm and resolute appears in their bearing as if they are determined to make the most out of their encounter. They know they have been accidentally brought together, but they also know that, for this brief moment, one will be the only witness to the existence of the other, and vice versa, before drifting off again in different directions, disconnected and unrelated, but potentially transformed for the better.
Open Drift has been created in a personal moment of transition of the choreographer and it is the result of the two-way exchange between Philippe Kratz, at the end of his career as a dancer, and the two young performers, at the beginning of their working experience.
by and with Silvia Gribaudi
Music Nicola Ratti
With the collaboration of Associazione Culturale Zebra
Peso Piuma was created as part of the project SWANS NEVER DIE
Peso Piuma is a performance inspired by the first version of The Dying Swan created by Michel Fokine and danced by Anna Pavlova.
In her interpretation, Anna Pavlova included in the choreography movements that were expressions of her own feelings, performing a revolutionary act that betrayed the codes of the dance of the 1900s: Choreographers’ and dancers’ roles became blurred.
The dance that was staged belonged to both the choreographer and the performer, it was impossible to know how much belonged to one or the other.
The dance that was staged belonged to both choreographer and performer, it was impossible to know how much belonged to one or the other.
Which is the invisible legacy that remains for those who will dance that choreography?
How is a movement transmitted and re-interpreted?
Where do the past and the present meet in the body? How does the gesture go beyond time?
In a 15-minute performance, together with the public, I explore the intimacy of the body, the abandonment to it. I reconstruct new movements, with effort and happiness, repeating those arms and that broken neck of Pavlova.
I have tried to start from those steps that give impetus to the fall. It is a fall in order to get up again.
Greta Pieropan has a background in Modern Philology and Literature Studies, with a focus on journalism and performing arts. She works with festivals and dance companies on communicating dance to professional and non-professional audiences. Her personal research includes dance dramaturgy, as a tool for the creative process and for developing a positive exchange between artists and audiences and researching new narratives for contemporary dance.
Full price: 3 euro
Under 6: free
In compliance with anti-Covid regulations, tickets can only be purchased online at www.biglietteriafonderia39.it up to one hour before the performance.
Therefore tickets cannot be booked by phone or by e-mail.
The ticket service in the Fonderia is suspended.
Tickets are not numbered.
You can enter the Fonderia 15 minutes before the performance, showing your online purchase.
At the entrance, the temperature will be tested and if the temperature exceeds 37.5°C, you will not be allowed to enter. Access to Fonderia is only allowed prior to the presentation of a valid Green Pass certification, excluding the children under the age of 12 and to subjects exempted on the basis of suitable medical certification – according to the criteria defined by the Ministry of Health. Our staff will check this certification at the entrance. It is required the correct use of the mask for the entire duration of the event.