Dancing Hall is a work in progress project that has been involving the members of the company (Marco Valerio Amico, Rhuena Bracci, Roberto Rettura and Chiara Pirri) from 2012 and will go on through out 2013.
It is from this idea of continuous research, that is especially a research on “bodies” (the body of the performer, but also the light and sound as bodies), that the performance acts that make up the corpus of the project come out, always in conjunction with the different spaces that host them. We want the research to be fed by the comparison with different architectures and cultures of the Space, and in this sense the spatiality of the ancient halls of Swiss architecture awake a particular interest in us.
A choreographic score is built starting from the breaking down of dancing hall’s dances into signs that, in the context of the whole composition, give life to a new universe. The imaginary of the dancing hall brings back an atmosphere from the past, a distant nostalgic state of memory that is dissected into signs which are, when reconstructed, placed out of time. Torn apart from their original cultural universe, the signs are not brought back in a different time, but rather left to float in a “here and now”, a punctual and yet elusive time.
The generosity of the gesture that is offered to the eye, without appropriating itself of any symbolic value. Acts that are precise, exact, necessary.
What remains of the Dancing Hall is the lightness of the gesture. A landscape of the body is created, here and now, in opposition with the action of sound (created by Roberto Rettura) and light (designed by Fabio Sajiz).
The action and gestures of dance are placed in a landscape dimension, in a desert perspective animated only by a faint lightness.
The choreography, being a composition generated by body, light and sound, affirms itself as a rewriting of time able to unoccupy a place. The landscape is more important than the space occupied by the dance.
What you have is the vision of a bunch of people engaged in the ritual of dance, caught through dunes of distance, in a wobbly rhythm and a loss of perception.
The drama is not in the scene. The “story” is left behind and you are innocently and nostalgically looking at a distant horizon.