Alphabet et Ultra is a dance training workshop about contemporary and research languages that provides 10 scholarships to support 10 European dancers, with recognized training or professionalism, selected by audition.
The action is made possible thanks to the contribution byFondazione del Monte di Bologna e Ravenna, by Comune di Ravenna, supported by E-production, Ravenna Teatro and ATER Fondazione/Teatro Comunale Laura Betti di Casalecchio di Reno.
The teachers are choreographers, directors, playwrights, critics and cultural managers who have gone through and still go through the work of the nanou group.
15 days between the Laura Betti Municipal Theater in Casalecchio di Reno and the Artificerie Almagià in Ravenna, for an intensive work that provides teachers such as: Francesca Proia (choreographer and yoga teacher of international level), Chiara Lagani (playwright for Fanny & Alexander, award Ubu 2019), Carolina Amoretti (dancer of the nanou group), Marco Valerio Amico and Rhuena Bracci (choreographers and artistic directors of the nanou group), Claudio Angelini (director of the festival Ipercorpo and director for the company Città di Ebla Forlì), Michele Mele (cultural manager and curator of Anagoor), Lorenzo Donati (theater critic for Altre velocità), Francesca Serrazanetti (theatrical critic for the magazine Stratagemmi).
We want to contribute to the transformation of the city of Ravenna as a reference place for contemporary dance and European research by tracing a training-productive line on the territory that looks beyond national borders.
On 25 November, at 6.00 pm at the Artificerie Almagià, the experience will be shared with the city of Ravenna through the exhibition of the choreographic material addressed and a public reflection meeting on research dance, its language and its proximity to the Ravenna area.
Following, in collaboration with Ravenna Teatro / Ravenna face-in-air, the meeting “The body and the city: a question about space” with Francesca Proia, Marco Valerio Amico, Monica Francia, Nicola Galli.
≪There is a strong feeling that dancing is perceived as forbidden.
The current situation, the physical distancing, the fear of contagion, the protocols to be respected, the difficulty of seeing multiple bodies on stage … these elements make dance perceive as a practice that is currently prohibited.
Dance has the body and space with it. During the closing, the body was left alone in confined spaces. Eroticism, understood as the ability to attract, has been sublimated through social networks. But dance is flesh, bones, contact, sweat, breath… all things that are read with circumspection today, at least in everyday life.
The thought is therefore to give value to this sense of forbidden by re-establishing the perception of a contact. On stage, there are protocols that allow us to dance. Be aware that, while following the protocol, a desire for closeness can be triggered, even if only through the gaze.
The public, who today is in as much difficulty as we are, I think needs to feel involved, to know that that dance is really with him and that his desire to look can be transformed into epidermal perception, thus finding a physical experience of participation from the alive.≫
Marco Valerio Amico