We want Miles, in a silent way2020-11-22T09:38:20+01:00

Project Description

We want Miles, in a silent way

2019

project: Marco Valerio Amico, Rhuena Bracci, Marco Maretti
choreography: Marco Valerio Amico, Rhuena Bracci
set and colors: Marco Valerio Amico, Daniele Torcellini
lights: Fabio Sajiz, Marco Valerio Amico
sound: Roberto Rettura
drumming: Bruno Dorella
with: Carolina Amoretti, Marina Bertoni, Rhuena Bracci, Marco Maretti

produced by: Ravenna Festival, Nanou Ass. Cult.
supported by: La MaMa Umbria International, Città di Ebla/Ipercorpo, E Production, Ravenna Ballet Studio
with the contribution of: MIBAC, Regione Emilia-Romagna, Comune di Ravenna

We want Miles: Nanou approaches the Miles Davis’s work looking for a method to rewrite its own choreographic language: Miles, already in Kind of Blue wanted to express the ancestral relationship between music and dance, therefore between time and space, mind and body. To face Davis, we proceed in a silent way, removing the trumpet and subtracting his music to apply his improvisation methodology and generate the dance.

If I want the saxophone to play something [di particolare], change simply the [mie] support notes, so that he plays around to those.
(M. Davis)

The method used by Davis for the creation in studio was called “cut and paste”: long recorded improvisations cutted and pasted into post production.
Live performed actions, like leaving the stage to listen the sound from a distance and come back to change, a real “deterritorialisation” of the sound action in progress directed by his presence or absence.
Our choreography, which analyzes body, space, time, relationship, rethought as tools, is based on improvisations jazz musicians and later cutted and re-pasted. Every action phisical, spatial, temporal or relational determine a change by developing the dialogue between the instruments.

I keep trying to advance the music by changing colors. Is my nature.
(M. Davis)

Outside the mind and conscience of those who look at, the color does not exists: it depends on the reference context – spatial, historical, social and cultural as it is – from what we have seen before, from our own expectations and from our emotional state, and it depends on the light that lights.
Supported by Daniele Torcellini (chromatology professor at the Fine art academies of Genoa and Verona), we face light and color as tools to articulate a three-dimensional space into musical dialogue with dance. The color takes up space finding his own drama.

we want miles, in a silent way – Première: April 26>28 2019, La MaMa – New York City

we want miles, in a silent way – Italian Premère: June 26 2019, Ravenna Festival – Ravenna

Photos

© Daniele Casadio

© Michela Di Savino

Video

Press

Between Lightness and Labors of Sisyphus Miles Davis Appears

End of the race for autumn debuts in view of the new ballet and dance programs in December [...] A few days after Sisyphus/Trans/Form’s debut, We Want Miles, In A Silent Way by the Nanou Group, has been visiting “Danae”, a festival active in Milan for twenty-one years. Opening a painful parenthesis, it seems right to note that Milan is a rather ungrateful city for contemporary dance; it boasts festivals of medium and small stature and hosts here and there also important names. However, it has none of the long and articulated festivals that have long reigned in Turin, Rome, Reggio Emilia. It is a black hole, even in its project, of which the city certainly cannot brag about. The Nanou’s dance pièce, here led by Marco Valerio Amico and Rhuena Bracci, has already in the title its inspiring source: Miles Davis, one of the greatest musicians in the history of jazz. It’s formalistic and in the style of the Ravennati Nanou does not give up those strips of light, here of various and changing colors, which serve as tracks, or create fences where the dance lives in a succession of frames. Curious, as he is, a male figure in black suit of shoulders, appears immediately at the beginning and shows a foot off the axis of his balance, wearing yellow. He reappears at times, often for simple walks, or for “free” dances, very different from those elaborated with technique and precision by the three female dancers. Carolina Amoretti dresses in tights with a flesh-coloured bust and long hair; Marina Bertoni wears a puffy white shirt and tight green pants and the same Bracci, interpreter and co-choreographer, is the only one in everyday costumes: hooded suits, for example. At the bottom a panel closes the space in half and lets the interpreters appear and disappear: it also dyes itself in various colors starting from the red. The dance makes use of straight lines, of outstretched arms, of round evolutions in space and is different for each of the three dancers even if this diversity, with the exception of Bracci that often rolls on the ground, is dictated for the other two mainly by the speed of execution and the personality of both. In one hour a homage is given to Miles Davis that does not start exactly from his music, but from his compositional method, from his “structures”. The percussions, beside the scene of the Theatre Out Off that hosted “Danae”, are led by Bruno Dorella and rework and transfigure Miles’s pieces of music, preferring also electronic inserts or pure and dry silences. In this chromatic-danced way and with live music also not by Davis, except in the final part, when the famous trumpet of the so-called “prince of darkness”- who died in Santa Monica in 1991- comes out. About Miles' shady personality remains a lot of memories and testimonies. Among his most famous sentences resounds that “Why play all these notes when we can only play the best?”, a +

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