Dreamers

Dreamers2020-02-17T16:51:41+01:00

Dreamers is a triple bill that features the illustrious signatures of Ohad Naharin, the choreographer from Batsheva Dance Company, Rihoko Sato, the muse and favorite performer of Saburo Teshigawara, and Aterballetto choreographer and dancer Philippe Kratz – and offers a unique opportunity to admire the company through shades of contrast, from the rational physicality of Philippe Kratz to the sophisticated, ethereal style of Japanese Rihoko Sato, to Ohad Naharin’s vigorous rituality.

cloud|materia

Choreography Philippe Kratz
Original electronic music Borderline order
Costume design Costanza Maramotti
Lighting design Carlo Cerri

Duration 27’ – Creation for 15 dancers of the company

Traces

Choreography Rihoko Sato
Costume, set and lighting design, music collage Rihoko Sato

Duration 20’ – Creation for 8 dancers of the company

Secus

Choreography Ohad Naharin
Music Chari Chari, Kid 606 + Rayon (mix: Stefan Ferry), AGF, Chronomad (Wahed), Fennesz, Kaho Naa Pyar Hai, Seefeel, The Beach Boys
Sound design & editing Ohad Fishof
Costume design Rakefet Levy
Lighting design Avi Yona Bueno (Bambi)
Assistants to the choreographer Rachael Osborne, Ian Robinson
Creation for Batsheva Dance Company (within Three, 2005)

Duration 30’ – Restaging for 16 dancers of the company

Production Fondazione Nazionale della Danza / Aterballetto

Coproduction Festival Oriente Occidente (I), Les Halles de Schaerbeek (B), Malraux scène nationale Chambéry Savoie (F)

cloud|materia by Philippe Kratz is supported by Bayer Culture Engagement (D)

Premiere
September 6th 2019, Festival Oriente Occidente, Teatro Zandonai, Rovereto (Trento, Italy)

Anni Albers – an artist/designer and key figure in the Bauhaus experience – used arts and crafts as means in helping theory (“cloud”) become tangible (“material”). Albers worked on the borders of the worlds of science, physics, and the material, on one side, and religion and philosophy – consisting of abstract constructs and ideals – on the other, combining both as desired. The words “cloud” and “materia” are used as intended in an excerpt from her book “On Designing” (1959) in which the Bauhaus weaver and artist explained her approach to daily creative work.

Her words were taken to heart by Aterballetto’s young dancer and choreographer Philippe Kratz, winner of the prestigious choreographic competition in Hannover in 2018 with “O”, a brief duet to be officially presented at NID Platform 2019 in Reggio Emilia. The desire to pay tribute to the extraordinary Anni Albers, whose texts on weaving and design have been considered manifestos of curiosity, self-determination, and creative physical labor for decades and continue their relevance today has now taken form in cloud|materia – a piece for 15 dancers of the company.

Curt Sachs has pointed out that dance’s fundamental function lies in its rituality. Still today, dancing together provides a sign of mutual trust, alignment, and celebration. In short, a way of raising hope. These are the elements of inspiration for cloud|materia. As we watch this modern tribe solemnly reinforcing the efficient and constructive ritual that underlies human bonding, this group in search of growth together may be seen as the desire to construct a plan for an ideal society.

Rihoko Sato is a dancer acclaimed internationally, as one of the main figures in Saburo Teshigawara’s works. Traces is her first group piece on her own name, especially created for Aterballetto.

Things pass by, and you pass by them.

Things change, while you move on.

They lose their colors, and seem to fade away.

Memories become the memory of memories.

Or someone’s memory that you once heard seems more vivid than your own.

As if our history is rewritten by someone else.

Standing amidst the loss.

You look at the face inside the mirror.

Or grab the hand of the person standing next to you.

To make sure you are still here.

The burnt smell inside my nose is the only thing that brings me back to reality.

The present only lasting for an ever-lasting second.

With the traces of these ghosts surrounding us.

My body is the only thing alive, and these things can only breathe life through me.

Through my eyes, my hands, my mirroring emotions.

I hear their voices.

I start to write their story before it fades away.

Or is it my own?

(Rihoko Sato)

Secus is a creation by Ohad Naharin that boasts a musical collage that stretches from the offbeat electronic stylings of AGF to the alluring Indian melodies of Kaho Naa Pyar Hai to the resonant harmonies of The Beach Boys. This adventurously eclectic mix serves as a fitting backdrop for the audaciously quirky choreography.
Under our incredulous eyes a human alphabet made up of races, solos, terse and clean gestures, interrupted duets, through precise and sudden kicks, sinuous jutting hips, torsos that twist in all directions like molding rubber, expresses pure emotions and feelings without becoming sentimental. Joy, vulnerability, fear, innocence, confusion and anger weave a harmonic and dynamic canvas that oscillates between delicacy and exaggeration.

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