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animanimale _ action for body and voice 

choreography and dance paola bianchi

text and reading ivan fantini

music fabrizio modonese palumbo

canvas andrea chiesi

thanks to fferrarinirsm

residence SPAM!

production PinDoc

in collaboration with AGAR

with the support of Mibact and Regione Sicilia



ph. Katjuscia Fantini

I, human being of human race, am the stateless person, the exile, the being body without being…
                              Ivan Fantini animanimale _ apologia di un genere umano

The word animanimale is the contraction between two italian words: anima (soul) and animale (animal).

d'animanimale _ action for body and voice originates from the words and the images of animanimale _ apologia di un genere umano, a book by Ivan Fantini - writer and Andrea Chiesi – painter, published by Barricate.

d'animanimale is a hybrid performance, a mix of narration and contemporary dance, text and body, listening and sight, where Andrea Chiesi’s canvas and Fabrizio Modonese Palumbo’s music are matters that indissolubly tie narration and dance.

d'animanimale needs proximity, prefers a close sight, an intimate contact with the viewer. A postural choreography, a full of power, focused on details, precise, tiny choreography. The choreography develops inside the body, inside muscles and skeleton, it’s a kind of anatomical dance and the viewer can chase a flux of tension and at the same time can focus its attention on a small detail. Every spectator can cause a personal dance of the viewer. A movement of your eyes can discover a tiny part of the body or look at the total; you can move your eyes on the lines of the body or look for the distance.

The book animanimale _ apologia di un genere umano by Ivan Fantini and Andrea Chiesi generated some images that it was impossible to hold back. Images became movement, that movement needed words and those words wanted sound: d'animanimale _ action for body and voice was born in this way.


a relationship between word and body, text and movement, poetical word and choreography



ph. Enea Tomei

the book




the canvas




VERBO PRESENTE

concept, choreography, dance Paola Bianchi
music composed and live performed by Fabrizio Modonese Palumbo
lighting design Paolo Pollo Rodighiero
tutoring Raimondo Guarino
residences Residenza Arte Transitiva – Stalker teatro, Santarcangelo dei Teatri
thanks to Ivan Fantini, Andrea Chiesi, Paul Beauchamp
production PinDoc
in collaboration withAGAR
with the support of Mibact and Regione Sicilia


 ph. Paolo Pollo Rodighiero

The sinking of the body into the abyssal void of the present.
VERBO PRESENTE was created reflecting on perception, imagination and their connection and interdependence, and on subjectivity counterposed to objectivity.
The cause for reflection was a question: does the verbal description of some postures and movements of a body make universal the vision of that body?
I chose some paintings by Andrea Chiesi, his human figures. I chose them because of their blindness, because of absence of expression of their faces - absence, not negation; this absence becomes presence thanks to the shapes of those bodies. Then I transposed these postures on my body, I verbal described them and recorded my voice. I left a hole, a silence between one posture description and the other one; I created a choreography for those holes, choreography inspired by literary and scientific images concerning blindness.
The space was marked by analysis of The triumph of death by Pieter Bruegel the Elder. I reflected on how the painter defined and divided the space in that painting. That space - marked by the unavoidable way of death, by its victory in the battle against life - showed the directions and the spatial coordinates of the choreography.
This was the course of my research on perception and imagination.
But what is the imagination if not the action of the image, the movement acted in us by experienced image?
Spectator’ sight will create the whole vision, as the final and necessary tessera that devise the entirety of the choreographic action. 
paola bianchi


SCOREFORFIVE

concept, choreography, dance Paola Bianchi
light design Paolo Pollo Rodighiero
sound processing Paola Bianchi
thanks to Ivan Fantini
production PinDoc
in collaboration with AGAR
with the support of Mibact and Regione Sicilia


The headlong stream is termed violent, but the river bed hemming it in is termed violent by no one
Bertolt Brecht

Five characters performed by one dancer. Five figures find the ultimate sense of their actions through a non-allowed condition: simultaneity.
The choreography arises from the study of five female figures of Italian contemporary literature (La vita accanto by Maria Pia Veladiano, La compagnia del corpo by Giorgio Falco, Volevo essere una farfalla by Michela Marzano, Sangue del suo sangue by Gaja Cenciarelli, Anatomia della ragazza zoo by Tenera Valse). Five different women; they could know each other but they’ll never meet each other. Victims of domestic violence, victims of imposed beauty standards, victims of dissatisfaction and boredom, victims of urban decay, aware or unaware victims.
The extreme solitude of the subject is placed in a situation of fictitious communion, where each figure perceives the surroundings without experiencing any sense of company.
scoreforfive  develops only on abscissa of space: time – because of lack of contemporaneity of the actions – cannot be a determinant element. The choreography develops like a horizontal line, a planimetry. There isn’t a before or an after; the five actions are linked up through a spatial connection. Lights and sounds have their own way, totally independent from the action. No sound and no change of light - except for darkness at the end – are connected to the dramaturgy. Action, sound and light go on three parallel and independent lines. Perception without experience, individual community. A paradox of oxymoron. 


L'ASSENZA

choreography and dance Paola Bianchi
text and reading Ivan Fantini
sound design Nicola Amato
sculptures Paolo Migliazza

lighting design Paolo Pollo Rodighiero
production FC@PIN.D’OC
in collaboration with AGAR
with the support of Mibact and Regione Sicilia

A body is pursuing the subtraction, the essence of nothingness, the empty space; it’s looking for the sense of presence in absence.
This body is draining itself, it is sealed inside its imagine, it’s swaying, it’s looking for an identity. It remembers that it has no news about present – it seems it doesn’t resemble it.
That body retraces backwards a preset way, hidden in the desolation of everyday life, that body reduces and ridicules itself.
That body is empty, weak, nothing brushes against the shade of its entirety; that body is lacking of reliability, even its smell is temporary.


PROVE DI ABBANDONO

choreography and dance paola bianchi
text and reading ivan fantini
music fabio barovero
production FC@PIN.D’OC
coproduction Il Triangolo Scaleno / Teatri di Vetro
in collaboration with AGAR
with the support of Mibact and Regione Sicilia


Where does a stone come from? How deep is a stone? Which kind of beautiful there’s inside a stone? Its being alone, its being at the mercy of any current is not caused by abandon or surrender but is a peculiar orphaned condition; all stones are orphans, adopted without their approval.
                                                    ivan fantini educarsi all’abbandono


PROVE DI ABBANDONO dwells places (private apartments, shared or abandoned places), it doesn’t cross spaces.

PROVE DI ABBANDONO needs proximity, prefers a close sight, an intimate contact with the viewer. The choreography develops inside the body, inside muscles and skeleton. A body in a closed space, a postural choreography, a full of power, focused on details, precise, tiny choreography – and the borders of the action place get lost in the sight place.

The novel educarsi all’abbandono by Ivan Fantini generated some images that it was impossible to hold back. Images became movement, that movement needed words and those words wanted sound: PROVE DI ABBANDONO was born in this way.


PROVE DI ABBANDONO from paola bianchi on Vimeo.

















ZERO

concept, choreography, scene, sound Paola Bianchi
artistic advice Silvia Parlagreco
on stage Paola Bianchi and Giuseppe Tordi
lighting design Paolo Pollo Rodighiero
production FC@PIN.D’OC
in collaboration with
Cricoteka – Centre for the documentation of the art of T. Kantor, Kraków | Consulate General of the Republic of Poland in Milano | Teatro Verdi – Milano | Versiliadanza and Teatro Cantiere Florida in Firenze _ FLOW_RESIDENZE CREATIVE | Santarcangelo Festival del Teatro in Piazza | AGAR
with the support of Mibact and Regione Sicilia


Broken movements in  d i s o r i e n t e d  and lost in scenic space bodies, looking for an appropriate but never reached place. A constant and persistent  a n x i e t y. It seems that those bodies cannot find their right place and they never feel at home. 
ZERO’ sound is the editing of pauses, silences, breathes between a Kantor’s word and another one – his pondered words. These full of sense silences, selected from Cricoteka sound archive’s recordings, become dramaturgic track for ZERO. 
Silences and bodies. Body in action and body in view, one in front of the other, living the same indisputable destiny: the end.
A tribute to those bodies that experienced Tadeusz Kantor’s theatre.


UNTITLED

utopian creation project
                                                         WITHOUT TITLE | WITHOUT RIGHTS












ph. Roberta Perrone


A choreographic research into literature. Five female characters of contemporary literature are on the one hand the cue to investigate into the impossibility of simultaneity of looking, on the other hand the occasion to look into the relationship between written word and action, between sense and movement, between tale and choreographic composition, between clear thinking and elusive tale.
The five Italian novels are: Anatomia della ragazza zoo by Tenera Valse, La compagnia del corpo by Giorgio Falco, La vita accanto by Mariapia Veladiano, Volevo essere una farfalla by Michela Marzano and Sangue del suo sangue by Gaja Cenciarelli.
UNTITLED is the amalgam of some actions with different titles and production methods - performances, workshops, video installations -: a sort of continuous and open work in progress.

UNTITLED foresees following steps:

WITHOUT
a solo quintet
WITHOUT, a solo dance by and with Paola Bianchi, was performed for the first time on april 2013 at Teatri di Vetro Festival in Rome. WITHOUT arises from the study of five female characters out of five contemporary novels. WITHOUT is a performance created for five dancers but there’s only one dancer on stage.

WITHOUT BODY
writing the score
WITHOUT BODY is an experiment where audience has a very important place. During an open rehearsal of WITHOUT, I’ll ask audience to think about the performance and present their own thoughts to me: writing arises from body in action. The aim is to commit movements to written words, thoughts, questions. A research on verbalized kinaesthetic reactions. The external looking becomes the protagonist of the vision because it changes the inner perception.
These products will be elaborated and will create a written document, one or more audio files and/or an installation.

WITHIN
inside the body
WITHIN _ inside the body: choreographic elaboration of writings. Texts produced during WITHOUT BODY will be a new written score to create a new choreography. Working on abstraction, the original concept (the study on the five characters that generated WITHOUT) will be cancelled to give place to a new sense. Inside the body again.

WITHIN WITHOUT
WITHIN will be a part of WITHOUT and together they’ll generate a new performance: WITHIN WITHOUT.

WITHOUT TEACHING
workshop for professional dancers
WITHOUT TEACHING is a workshop addressed to professional female dancers to create the performance WITH TITLE, the achievement of utopia. WITHOUT TEACHING is a choreographic composition workshop; we’ll look into the relationship between written word and action, between sense and movement, between tale and choreographic composition, between clear thinking and elusive tale.
Paola Bianchi will lead the workshop.

WITH TITLE
utopia achievement
WITH TITLE is the achievement of the utopia: five dancers on stage.

WITH
five choreographers for a plural project
concept, space, sound processing Paola Bianchi
choreography and dance Marina Giovannini, Paola Bianchi, Rhuena Bracci, Sara Simeoni, Valentina Buldrini
light design Paolo Pollo Rodighiero
technician Chiara Girolomini
production agar, collettivo c_a_p

WITH is composed by five dancing actions created by five choreographers/dancers: Marina Giovannini, Rhuena Bracci, Sara Simeoni, Valentina Buldrini and Paola Bianchi who chose the theme and consigned them some theoretical-practical indications.
Every choreographer creates a dance expressly for a place, because the five actions will inhabit five different places inside one building (theatre or not). Like in WITHOUT, the space factor is the only possibility to decode WITH’s dramaturgy, through the research into the impossibility of simultaneity of looking.
WITH is a plural work, a test act aimed at abandoning the single vision.
Premiere > 7 march 2014, Teatro Diego Fabbri, Forlì
Next > 4 april 2014, Teatro degli Atti, Rimini

WITH PRACTICE
workshop
WITH PRACTICE is focused on development of bodily consciousness, perception of your own body in the space, on core of movement. We’ll investigate our own body’s real possibilities also learning some sequences of movement broadcasted on our ipod. A research on connection between word and body, between vocal transmission and movement. WITH PRACTICE is addressed to any person who is interested in measuring him/herself with the expressivity of his/her body. WITH PRACTICE will be led by two or three choreographers of WITH.
On 8 and 9 march 2014 Sara Simeoni, Valentina Buldrini and Paola Bianchi will lead it together for the first time at Forlì.

WITHOUT PLACE
video
WITHOUT PLACE is the short circuit between my computer and my mobile. It is a white shadow. It is the black around my body, while my body is sinking and floating, emerging and falling into the black screen. It is light and body, reflection in the black.
There wasn’t any post-production elaboration of images.














OUTWITH

by and with Paola Bianchi
thanks Ivan Fantini, Paolo Pollo Rodighiero
production FC@PIN.D’OC
in collaboration con AGAR

with the support of Mibact and Regione Sicilia
I dance on a map of sense that keeps out a linear logic; the spatial connections break because of breath inability of the action. Claustrophobic speaking OUTWITH is an anaerobic solo dance. Anatomically speaking it’s a toothless scream. An out of context. A partial view.



WITH _ five choreographers for a plural project

concept, space, sound processing Paola Bianchi
choreography and dance Marina Giovannini, Rhuena Bracci, Sara Simeoni, Valentina Buldrini, Paola Bianchi
light design Paolo Pollo Rodighiero
technician Chiara Girolomini
production agar, collettivo c_a_p
thanks to spazio Genè5

WITH is the second step of the utopian creation project UNTITLED _ without title | without rights.
In the first step – WITHOUT – one female dancer incorporates five female characters of Italian contemporary literature; a performance created for five dancers, but she is alone on stage.  A choreographic research into literature is one of UNTITLED’s cue and the five female figures become here the starting point of an additional reflection on relationship between written word and action, between sense and movement, between tale and choreographic composition, between clear thinking and elusive tale.
WITH is composed by five dancing actions created by five choreographers/dancers: Marina Giovannini, Rhuena Bracci, Sara Simeoni, Valentina Buldrini and Paola Bianchi that chose the theme and consigned them some theoretical-practical indications.
Every choreographer creates a dance expressly for a place, because the five actions will inhabit five different places inside one building (theatre or not). Like in WITHOUT, the space factor is the only possibility to decode WITH’s dramaturgy, through the research into the impossibility of simultaneity of looking.
WITH is a plural work, a test act aimed at abandoning the single vision. Every dance lives its own moment.


WITHOUT _ a solo quintet

by and with Paola Bianchi
lighting Paolo Pollo Rodighiero
sound processing Paola Bianchi
photography Valentina Bianchi
thanks to Ivan Fantini, Stefano Murgia, Francesca Divano, Chiara Girolomini, Valentina Bianchi, 
Movimento Centrale, Santarcangelo •12 •13 •14 Festival Internazionale del Teatro in Piazza
production FC@PIN.D'OC
in collaboration with AGAR
with the support of Mibact and Regione Sicilia

The headlong stream is termed violent, but the river bed hemming it in is termed violent by no one.
                                                                                                              Bertolt Brecht
 



To create WITHOUT – a score for five female dancers – I focused my research on an oxymoron: individual collectivity. The condition of forced isolation of the subject in action creates an unbalanced perception to its being part of a community in action. Five figures find the ultimate sense of their actions through a non-allowed condition: simultaneity.
As a condition that is physically unreachable, but potentially realized through the eyes of the viewer, WITHOUT takes its place in utopia as opposed to ongoing dystopia. The extreme solitude of the subject is placed in a situation of fictitious communion, where each figure perceives the surroundings without experiencing any sense of company.
WITHOUT is a performance created for five dancers.
I’m alone on stage.                                                                                

      NOTE *
The inception of WITHOUT was the urgency to create a performance for five female dancers, a choreography that could let me develop a complex relation in space. The impossibility to deal with a production with a lot of people on stage because of lack of funds, led me to create a choreography for five dancers and reduce the workforce to one person: me. On the one hand WITHOUT is a condemnation of difficulties connected to indigence of italian culture, on the other hand it concerns an isolation inside the collectivity or, better, an absent collectivity.
The choreography arises from the study of five female figures of contemporary literature, that I chose because of their peculiarities: normalities. The study started from their features/normalities to develop in a remote relation with one and others. The differentiation of figures and the use of space are very important. Two phases: the study of peculiar motion to every figure, and space-time structuring of every single action. The hopeless contemporaneity doesn’t have to permit cancellation of other figures and doesn’t have to forget position of every dancer in every moment. The dramaturgy concentrates on two different levels: to sketch out precise characteristics of every single figures, and to control the complex relation between the five figures. At the same time it cannot ignore the visual linearity of the performance. Every figure changes her role during the performance: from subject in action to memory object of the following figure and the preceding figure and, of course, of the audience. Perception without experience, individual collectivity. A paradox of oxymoron.
      * Excerpt from CORPO POLITICO by paola bianchi, Editoria & Spettacolo, autumn 2013


The dramaturgy of WITHOUT develops only on abscissa of space: time – because of lack of contemporaneity of five actions – cannot be a determinant element. The choreography develops like a horizontal line, a planimetry. There isn’t a before or an after; the five actions are linked up through a spatial connection. Lights and sounds have their own way, totally independent from the action. No sound and no change of light - except for darkness at the end – are connected to the dramaturgy. Action, sound and light go on three parallel and independent lines.

WITHOUT is the first step of utopian creation project UNTITLED _ WITHOUT TITLE | WITHOUT RIGHTS.











ABSTRIAL

all streets of the world collapse in our mouths

concept Paola Bianchi (I), Ivan Fantini (I), Pia Palme (A), Electric Indigo (A)
direction and coreography 
Paola Bianchi
composition for baritono solo, 3 female voices and contrabass flute 
Pia Palme

composition for computer and 10 speakers Electric Indigo
text 
Anne Waldman (USA), Pia Palme, Ivan Fantini
installation 
Ivan Fantini
light design 
Paolo Pollo Rodighiero (I)
space design Pia Palme, Paola Bianchi, Ivan Fantini
sound design Christina Bauer (A)

with Paola Bianchi, Pia Palme, Electric Indigo
voices Bartolo Musil, Eva Kumpfmuller, Johanna von der Deken, Anna Hauf
organization Caroline Profanter

photography Markus Gradwohl

coproduction Suono, KosmosTheater
with agar, MA 7 Kulturabteilung der Stadt Wien, bmukk Bundesministerium fur Unterricht, Kunst und Kultur, Erste Bank

ABSTRIAL is radical contemporary opera with maximum transparency, an ephemeral presentation of imperturbably continuing processes. Ivan Fantini's installation made of bread dough and glasses constitutes the ideational axis for the performances of Paola Bianchi, the two composers who play live, and the vocalists. Guiding themes are the disintegration of quotidian values, meanings and fabrics, and consequently arising structures re-composed by the artists. The gradually changing installation resulting in falling glasses join with Anne Waldman's text to create structure and rhythm ruling decomposition and reorganization. ABSTRIAL connects the material level directly to contemporary composition, electronic music and text. The made-up word ABSTRIAL is consequently a composite of "abstraction" and "material".




























ERBARME DICH

by and with Paola Bianchi
text Emanuele Tonon – excerpt from Il nemico
voice Paola Bianchi
sound elaboration Fabio Barovero, Paola Bianchi
lighting Paola Bianchi, Chiara Girolomini
photography Valentina Bianchi
production Agar
thanks to Francesco Renzi, Federico Dalpiaz, Francesca Divano, Natalia Zarzecka
thanks to Ivan Fantini for the words spoken
thanks to Emanuele Tonon for the written words


I read about them, I feel them around me - wasted and exhausted bodies, consecrated to the effort. My glance touches them while absorbed by the difficulty of their day, by blasphemy, by their being nothing, by the slowness of their pace. It smells rotten, the vomit foretelling the end. I sense the bare, essential language of those bodies.
And in the given space I invest my body with a continuum of harmoniously sclerotic gestures, with a mute grimace, suspended between revealing and retaining.
A linear dramaturgy has been broken down and recomposed by following an illogical sequence.
A stupendous heresy which raises nothing.
A claim for mercy with no intentions.

ERBARME DICH develops through the asphyxiation of our constrained everyday life.






DUPLICA

by and with Paola Bianchi
lighting Paolo Pollo Rodighiero, Chiara Girolomini
technician Chiara Girolomini | Tommaso Checcucci
photography Valentina Bianchi
production Agar
in collaboration with INCANTI/Controluce Teatro d'Ombre _ Torino, Istituzione musica teatro eventi _ Rimini, KosmosTheater _ Vienna,
Teatro Comunale Rosaspina _ Montescudo, Teatro dei Cinquequattrini, Teatro A. Massari _ San Giovanni in M., L’attoscuro
thanks to Teatro Comandini _ Cesena, Santarcangelo •12 •13 •14, Ivan Fantini, Francesca Divano, Roberto Giari, Fabrizio Albanesi,
Rosa Mogliasso, Gabriella Bellorio

An autistic monologue in two parts. A mute dialogue, sometimes deaf, between the body and its image.
The journey of a body, of its shadow, the trajectory of the dissolution of the shadow and the fall of the body into a naked, unveiled space; hanging in pure time which is taken away from temporality. A lonely body. Ensnared in the black. Doomed to a double glance. Monstrously reflected, perpetually searching for other than the self.
I am the unveiled donkey that carries the weight of the inability caused by the excess of light.

The inception of DUPLICA was a desire to experiment with the world of shadow and light by using the body, my own body. A sense of insecurity has been leading most of the process. I didn’t know neither where I would arrive nor what I would find. Contradictions alternated with failures and pressing questions about the meaning. I chose not to put up a fight against it, so uncertainty has become a crucial element of the choreography.
The dramaturgy of the piece rose from the experiments I conducted on the relationship between light, the body and its shadow. A dramaturgy which is visually summarized by two parallel lines that will never touch each other, but need each other to exist – the outline of the figure and the one of its shadow, both inevitably killed by their separation.

Black on black.
The body’s consciousness stops its being “protaonist” in order to give way to the projection itself. Shadows need attention and extreme control. They imply a continuous giving where non-visible gestures take place according to the shape and cleanness of the shadow itself. The projection of the image becomes a place outside itself, attention oversteps the body and crashes in a flat, vertical space; three-dimensionality vanishes while the shadow relentlessly reveals.
The choice of a black cloth - in contrast with the traditional white cloths used in shadow plays – gives the possibility to see both the shadow and the body at the same time, while creating a continuous dialogue between the “carnality” and the flattening, a dialogue that implies a double consciousness: the outer attention – represented by the shadow on the cloth - and the focus on ourselves – represented by the real body. I needed to experience this kind of double consciousness by refusing the extreme protection of the white.




UNO 

by and with Paola Bianchi
text Giuseppe Genna – extracted from Italia De Profundis
translation Francesca Divano
sound processing and voice Paola Bianchi
music Fabio Barovero
lighting design Paolo Pollo Rodighiero
technician Chiara Girolomini
photo Valentina Bianchi
production Agar
thanks to Istituzione musica teatro eventi – Comune di Rimini,
Valentina Buldrini, Città di Ebla, Ivan Fantini, KosmosTheater


UNO [one] is an act without words, without solution, without end, without game.

one is there: I have to do. one tries, sits down, disappears.
one is feeling alive, one is disguised.
one is looking for a way. one surrenders.
one is speaking. one could decide not to answer.
one could go away.
one is unique and everyone.
what face has “me”?

The main character of UNO is non-identity. Unable to change into something else, unable to take part in the action she’s doing, unable to take a snap decision. Atonal arrhythmia. Staying there without being there.
Hesitant, unfinished movements. Indecipherable sign.
In UNO there is desolation, announced disaster, errors after errors, the decline of our time, our land, “the beautiful country” Italy. There is the unperfected silence of our age.
The aesthetic illiteracy of meidinitali.
A recorded text, extracted from Italia De Profundis by Giuseppe Genna (one of the most interesting italian contemporary writers) helps in creating the desolation, the effort of staying.

Inside our virtual rooms we change identity and moods estimating the effect of screen spectators – a fragmented audience in single unities.
This decadent room is coloured with the necessarily useless tints of a fake life.
Here nothing happens.
And in this loneliness one is not even able to dance...





VISIONI IRRAZIONALI | Come Conigli - Like Rabbits


concept and choreography Paola Bianchi
original music Fabio Barovero, Gionata Bettini
lighting design Paolo Pollo Rodighiero
production Agar
in collaboration with Santarcangelo 07 International Festival of the Arts, Velvet Factory, Giardini Pensili, centrale FIES, Città di Ebla
thanks to Giacomo Sega, Leandro Lotti, Katjuscia Fantini, Ivan Fantini

if number is order… and if everything is established by number, everything is order.                                                                         Pythagoras

Come Conigli project is based on Fibonacci series (1 1 2 3 5 8 13 21 34 55 89 144 233 377 610 987 1597 2584 4181 6765…) and the golden section.
Fibonacci series is a rapid progression toward the infinity, like a continuous and inexorable rise upward; the golden section’s process of growth is constantly similar to itself; the golden proportion proceeded from these two phenomenon is an irrational, unpronounceable, crazy and inebriating number. These characteristics fascinated and conquered me.
Come Conigli will provide a lot of different public visions that will be used for the creation of a new performance.
During a new creation it happens to have some “visions”. When I’m studying, thinking, sleeping some images come out. I write them and, when I work on dramaturgy, I use them. They become materials, images to be transformed during rehearsals. This time I’d like to present these “visions” in front of an audience. It’s quite as if I opened my notebook, but this time visible and realized.
The visions – catalogued according to Fibonacci series – will be strictly connected to the places. The visions could be developed in various expressive languages (video installations, sound installations, performances with one, two or three dancers). The visions will be performed in unusual spaces, theatrical or not.
The combination of the visions creates a place outside the place, obscene for its being outside the scene.



visione irrazionale 1
on stage Matteo Garattoni, Valentina Bravetti
perfection/imperfection, precision/vagueness, order/ruin.

visione irrazionale 1
on stage Matteo Garattoni
with the participation of 1 1 2 3 5 8 13 21 people
Golden rectangle, organic flatting, homologation.
The immovable, coagulated space, cut with precision becomes a closed space, visible in its every point. A constantly examined and controlled man, made with strengths tactics, acephalous - without head - without face - therefore Anonymous. A research about manipulated body. An obscene [out of the scene] multitude.

visione irrazionale 2
on stage Leonardo Diana
Real motion/apparent motion. A Stillstand which is threshold between immobility and movement. Vitality of movable immobility. Distorted, diverted, deflected visual perception.


visione irrazionale 3 
on stage Matteo Garattoni
Movement arranged in numerical order. Order in chaos. inner forces that carve,  that compress the shapes - completed forces.
Human been, measure of everything, which symbol was explicated in Leonardo da Vinci’s Uomo Vitruviano lost his sense of being. The harmonic equilibrium is vanished.


visione irrazionale 5
on stage Valentina Buldrini
Inner forces decompose movement. Breakage, undoing. Impossibility to stay, here, now.
5, the number of Christ sores.


visione irrazionale 8 
on stage Alessandro Bedosti
Permanent, omnipresent surveillance. Videosurveillance – asymmetric sight system.
To catalogue, to classify, to file the actions. We are neither actors nor spectators, we are living in a “Panopticon” machine. Loneliness is the first condition for submission.


visione irrazionale 13
on stage Valentina Bravetti
Caducity, static fall. Fallen angel.


visione irrazionale 21
on stage Elisa Depentor/Giulia Di Giannatale 
Innocent perfection


visione irrazionale 34
on stage Valentina Bravetti
Aware imperfection. Inner forces that they tear to pieces, that bite like dogs, that crumble the shapes.


visione irrazionale 55
on stage Alessandro Bedosti
dePEAUsition
iconic preparation to de-flight


visione irrazionale 89
on stage Alessandro Bedosti
exPEAUsition
athletic preparation in possible/impossible liberation from the matter.


visione irrazionale 144
installation
offended identity


visione irrazionale # 233
on stage Paola Bianchi
post-morten of the image in a latrine


visione irrazionale # 377
installation
crushed image

visione irrazionale # 610
installation
raped identity




adius utòpia

concept ivan fantini
choreography paola bianchi
installations ivan fantini
on stage paola bianchi
first video: film by serena saltarelli, editing by paola bianchi
second video paola bianchi and ivan fantini
production adius, agar
in collaboration with blusuolo III
2002 | 2012




















… and we that are free beings,
one cycle we are slaughtered,
one cycle we are butchers

         G. L. Ferretti

adius utòpia is an installation of the intervention aimed at affirming the truth of the act enjoyed by and/or deniable to the individual; it is an aesthetic of the irruption which unhinges the everyday habit through reality; it is contamination of the disciplines aimed at widening the horizons in thinking/creating of an artistic act and the individual as an artist; it is the fifth-fourth on the stage with no false moralisms as ransom of tradition and creativity opposite to waste, incarnated  with the value of a status symbol and perpetuated by the new economy. Terpsichore and Gasterea broadening creations, impossible to repeat and lost forever.
The fifth/forth originating adius utòpia includes head, tail, trotter, and all the pig’s entrails, sum of some proteins often ignored, condemned and refused proteins in the name of the absurd prejudice called disgust.
adius utòpia exalts and valorises all that is remaining of a slaughtered swine, when you have cut off his four fourth. The fifth-fourth, called inferior butcher’s cut, cheap, able to satisfy alimentary necessities for everybody, becomes, for society with advanced economy, a secondary product and it supports the economical increase of first-quality cuts.
adius utòpia doesn’t support alimentary by-products, canners’ enrichment of food for dogs and cats, consumism  and deviated alimentary habits.
On the contrary it exalts tradition, when tradition creates (invents?) creativity. Ancient intuitions, memory, cultural values.
In adius utòpia the fifth-fourth’s stage-scenary is intertwined with the human slaughter house, as an aseptic, antiseptic, claustrophobic place, where every day human beings find it hard to live.



































SINESUIDE _ imposizione verticale


by and with Paola Bianchi
thanks to Ivan Fantini
production Adius, Agar  
collaboration to production Blusuolo


We are meat, we are potential carcasses. If I go into a butcher’s shop I always think it’s surprising that I wasn’t there instead of the animal.                                            Francis Bacon

the closed room.
installation of a body forced into a place had on loan.
the white room.
aseptic, tiled room. slaughter house’s working block.
        slaughter house’s modernity
vacuum.
no gleam of darkness is permitted, no outer air is allowed.
the colour of flesh stands out in the white without injuring the whiteness around.
flesh does not undo, compact, it consents to stay in the structure containing it, the skin.
undergone violence, violence created as a reaction.
viscera’s silent rumour.
        slaughtered thing’s modernity. 






CESSIONE

concept and choreography Paola Bianchi
on stage Valentina Buldrini, Paola Bianchi
lights  Paolo Pollo Rodighiero
production Agar, Progetto Interregionale Spazi per la danza contemporanea
thanks to Sala5x10, Santarcangelo Festival















the sound of silence invades the space
a buzzing as deafening as the silence can be
a figure acts in an EMPTY, BLACK space
another figure doesn’t act
her space is a red space. A RED space
the first figure makes gestures which have been made a long time ago
dead gestures, lost in the darkness of the stages
gestures which must be read again
the other figure is sitting. she shows her back
a lavatory, a loo
the time of the first figure is suspended from past and present
it’s the time of memory, the interpreted and transmitted recollection which is never real
a time which cannot be placed
the place of the other figure is the place of waste, solitary and intimate
the place of the dumb thought
a close, defined space
the first figure tries to make the image live again
the other figure celebrates the sense of the dead image
the first figure makes a route. She passes through years and gestures
the other one stays. she waits. she doesn’t go through
sometimes she outlines
the first figure ends her celebration dance

A few months ago I decided to digitize the VHS of my old shows, as they were about be demagnetized. They were the only testimonies of my past work. Once transformed into DVDs, those unuseful old tapes couldn’t become garbage. They held death images that needed to be properly buried through a liberating rite. So I started to transform the tapes into a wig. I wanted to give a new sense to all those hours of shooting, to all those gestures lost in the memory of interpreters and of a few attentive spectators. The intimacy of memory immediately suggested me the image of the lavatory, of the toilet, of that place which is frequented by everybody, for a necessity, like memory is. So my way of staying on stage became necessarily connected to the way of staying at the toilet.
In those tapes there’s a lot of gestures. Those gestures, those movements passed through my body, modifing it, deforming it. The same movement that from the head (the place of image in western culture) goes to the end of the back to melt into the nothing.
Cessione is a testament. a way to tell a story without telling, without a story, the story of the many repeated gestures. a biography made of gestures, interpreted by Valentina Buldrini in an axcellent way. I decided to give her the ephemeral and still heavy burden
              
a testament
a way to tell a story without telling, without a story, the story of the many repeated gestures.
a declaration of loss.
an autobiography made of gestures.
the real memory stays inside the tapes.
in those useless tapes.
post-mortem in lavatory



PER FIGURA SOLA
concept and choreography Paola Bianchi
on stage Valentina Buldrini
sound concept Fabio Barovero
lighting design Paolo Pollo Rodighiero
press and organization Francesca Divano
production Agar
in coproduction with Marco Bianchi, Campo Campi, Luciano Nicolini, Benito Bianchi, Piero Bona, Bruno Monaco, Giancarlo Giorgi, Riccardo Nicchi, Zutart, Città di Ebla, Laura Gobbi, KosmosTheater, Ivan Fantini
with the support of Santarcangelo Festival and Teatro Petrella di Longiano















an empty space | on the floor a layout, signs delimiting the space of the action, indicating the direction.
a notes paper traced on stage | an obliged, decided route.
an only figure on stage | for her I created the performance
for that solitary and disoriented figure, who comes in and goes out the stage thus remaining on stage.
her being there in front of us becomes sometimes exposed, sometimes inposed - an ex and an in that alternate like the most natural act we accomplish in every moment, breathing.
a work about the staying on stage.

PER FIGURA SOLA’S ROUTE
I have been working for two years on the Fibonacci’s series and the golden section.
I showed in public my notes through performances and installations. I called them visioni irrazionali (irrational visions). I named them following the Fibonacci’s series.
an irrational approach, sometimes impossible to tell – as the golden number is.
the visioni irrazionali have been the material used in order to carry out PER FIGURA SOLA. they weren’t a “study for”. they were and will be like notes performed on stage instead of written notes on my notebook.
then, when I started working on the theoretical part of PER FIGURA SOLA, which represents the conclusive step of this long project, I have been working by subtraction, I started to take off. I wanted to reach the essential.
just some signs on the floor remain.
the internal counts of the choreography remain.
the golden rectangle remains, a golden cage made by our own hands. if at Leonardo da Vinci’s Uomo Vitruviano period man was the measure of everything, now things have become the measure to which man has to be adapted to.
among the several performers inhabiting my visions, only one remains, an only figure.

PER FIGURA SOLA talks about pretence. of being something without being that thing.
it talks about transformations, of attempts of transformations. a work about space, with no way out, sterile.
an irrational route. a laboratory with a cavy.
a study about staying, alone, on stage | there’s no more solitary place than the stage | it’s the place of measure
there is staying on before | there is an unarmed, ready, disposable, open being
there is the desire, the attempt to be “other”, “different”
there is a series of attempts, already decided, already drawn
there is no fatalism | there is a plan, a design, a route, an obliged trajectory
a sense of constant NAUSEA, a clear perception about our STAYING, HERE, NOW
precise erasing | organic flatting
there is no story
I cannot modify the trajectory, but the inside o the square | there is a layout
it is the game of goose
there is no exit




Homós
apologia dell’enantíos

workshop with final performance
teacher Paola Bianchi 
  
Homós  (greek)   equal
Enantíos (greek)   opposite
The representation of the equal to the defence of the opposite.
The equal is shown in order to exalt the singularity of the opposite.
Homós is the encounter between the two projects that Ihave been developing since 2004, Odissea dell’immobilità (Odissey of stillness) and Come Conigli (Like Rabbits).
The idea of developing a project about cultural clonation was born from the project Odissea dell’immobilità which was made by steps. Cultural clonation, production/construction of human beings having the same desires, thoughts, interests, taste. A reflection about homologation as the evil consequence of a wild globalization and at the same time the cause of it.
From the project Come Conigli came the idea of serial and numerical repetition of actions, the use of space in which the performance will take place, the number of the performers.
Are we now unable to let energies and desires flow, or are we unconsciously manipulated?
Do we need to be manipulated because we are no more able to act?
Or do we let that all this happens without any kind of consciuousness?
We are going towards what I call “annulment of personality” without any decency. It is necessarily bound to the incapacity of choice. The pressure made by the means of information takes to irrationality: the desappearing of any true competence, the continuous technological renewal, the fusion between State and Economy, the widespread secret, the unquestionable false (with the consequent desappearing of public opinion), the eternal present (annulment of historical conscience).
We are flesh for television, unconscious victims of ipnopedia.

Homós foresees a workshop and a final performance.



Corpus Hominis
concept and choreography Paola Bianchi
on stage Alessandro Bedosti, Piero Leccese, Matteo Garattoni
sound concept Fabio Barovero
lighting design Fabio Sajiz
press and organization Francesca Divano
production Agar, Torinodanza, centrale FIES
collaboration to production Città di Ebla
thanks to Cango Cantieri Goldonetta, l’arboreto, Raum, Blusuolo centro arti performative, Cristina Riccati, Silvia Parlagreco, Ivan Fantini

















We represent the age of minimum reason and maximum destruction.
Ulrich Beck

This work comes from a consideration of the body as a place where the relationships of domination and subordination are registered. I will not reveal the power, but rather the victim, a victim of itself, of obsessive, daily self care: the body.

bodies, alone, spectators of the world
bodies without body
   WILL YOU HELP ME?
bodies dissociated in organs, relatively passive physiological material
bodies medicalized
bodies that disappear, that fall apart with vibration
   FIRST FUGUE
bodies measured and exhibited, tidy and clean in the beauty of their appearance
bodies celebrated
bodies subjected to practice, preparation, civilization, education, conversion, bodies
trained, disciplined, flexible, malleable,
docile bodies, written surfaces, branded by the wording of the law
   SECOND FUGUE
bodies punished, standardized, corrected, colonized, validated
bodies massed in solitude
bodies in-formed, regulated
bodies like “things”, catatonic
plastic bodies
bodies-goods
angels that fall to Hell, the damned who descend to Hades
   THE NECESSARY SURRENDER
“everything could be different, but I can change almost nothing”
brain death as a necessary and sufficient criterion for diagnosing the death of an individual
superiority of the encephalon
intimacy publicly exhibited and thus denied
victim/executioner - the roles get confused
material bodies that remain
civilization’s disabled
   NOTHINGNESS
   STAGNATION

In what is defined as a somatic society, epistemological, ethical and aesthetic technologies discipline, adorn, punish, celebrate the body.
Every society talks about bodies, moulds them, orientates them, marks them, reduces them to reason.
   STYLES OF FLESH



Odyssey of stillness
project of creation by steps

The standing journey. The escape that doesn’t find the way. Standing motion, the energy self-generates, self-nourishes and flows inside.
Perfect / imperfect. Contraddiction of oxymorus.
The initial impulse for this project is "The notebook, the proof, the third lie: three novels" by Agota Kristof, but my research has gone beyond Kristof’s novel, individuating some themes of interest:
symbiotic being twins / excellent couple / indivisibility of the double / unstable equilibrium
siamese being twins / freaks / eye-spy
division / separation
multiplication / clonation / omologation
cryptophasy
excercises to strenghthen the mind through physical work / repetition /
perfection / overcoming our limits.

These themes, amenable to some variations, will be faced separately  (one by one) and/or uniformly, generating some steps showed to the audience. Each step will have a different title and modality of intervention: video installations, sound installations, performances.

odissea dell’immobilità # 0 HaccaH
 - a performance for children from 3 to 5 years old, in which we worked around symbiotic being twins / excellent couple / indivisibility of the double / unstable equilibrium / necessary separation (début: March 2004, festival Meli Mome, Reims, France)
odissea dell’immobilità # 1 Monocore - hinged on siamese being twins / freaks / eye-spy / cryptophasy (preview: September 2004, festival Carte blanche à Perceuse, Lausanne; début: October 2004, festival Torinodanza Focus 6 Cantieri Italiani, Torino).
odissea dell’immobilità # 2 Double-face - first study’s phase on staying. An installation of two bodies in a shop-window. (May 2005, festival Interplay Focus 8, Torino)
odissea dell’immobilità # 3 Kytos – in potere - (September 2005, Festival Crisalide, Forlì)
odissea dell’immobilità # 4 Chrónoshomo - a step dedicated to repetition / perfection / overcoming our limits. (July 2006 Drodesera>Centrale Fies)




Chrónoshomo 
odissea dell'immobilità # 4
odissey of stillness # 4
private exercises on pubblic release
by Paola Bianchi

on stage Alessandro Bedosti, Matteo Bologna, Matteo Garattoni
management Chiara Gallazzi

production Agar, Torinodanza, Drodesera>Centrale Fies
















Chrónoshomo, the machine man time.
the body as a complultion machine.
anatomy laboratory. the body compete with itself.

There is no expression will, no communication will.
 the body work force dance in the immobility, in the tension variation, in the forced slowness, in the unremitting repetition.
 search the perfection in the body imperfection.
 exposition of the study, of the daily training, of the private physical work, individual.


In the word chrónoshomo, both Greek and Latin, I like the assonance with the Italian cromosoma (chromosome), the place where there are the hereditary gene, at the same way these exercises gave rise to my body study, as a sorte of movement genetic map.





Kytos _ in potere
odissea dell’immobilità # 3
odissey of stillness # 3

concept and choreography Paola Bianchi    
sound concept Alessandro Bartolucci, Paola Bianchi
scenography by Renato Ostorero  
on stage Paola Bianchi
organization Francesca Divano   
production Agar, Festival Crisalide, l’arboreto di Mondaino, Città di Ebla
thanks Controluce, Yann Gioria, Francesco Renzi















# 3
Kytos  cell
in potere  translation from ancient locution with german origin “à bandon”, from which the French “abandonner” comes, from which the Italian “abbandonare” comes.
Division/separation/abandonment/leaving
Uselessness of the individual, left out of the relation between him and the external world.
A reduced, restricted field of action.
Separated, lonely, broken up cell.
Protection/exposition.
Motion/stillness.
Action/emptiness.
Two halves cages.
Two separated halves presuppose a unity.
Two twins halves presuppose an identity.
There’s no unity.
There’s no identity.
Kytos goes toward the nothing, toward the unpersonality because of unlessness.
There’s no possibility of change: the figure can be action or glance, show or spectator.



MONOCORE
odyssey of stillness #1
concept and choreography Paola Bianchi    
on stage Paola Chiama, Paola Bianchi    
sound concept Yann Gioria
lighting design Daniel Demont
scenography by Renato Ostorero  
organisation Alessandra Simeoni
production Torinodanza, Perceuse Productions, Arsenic, Agar  
collaboration to production Blusuolo, Santarcangelo dei Teatri
thanks Luca Scarlini, Mauro Genugu, Katjuscia Fantini, Cédric Bach – Grand Garage du Nord, Ivan Fantini





















#1
Monochorial - said of each monozygotic twin developing in a common chorionic sac.
Monocore - one heart.
A cage. Within the cage, two living beings. Two in one. A mundus bifrons, dialogic, dual. Constriction of an entirety. A cumbersome human anomaly.
A wake-walker, victim of an excess of presence. Internal hysteria. The strolling somnambulist no longer asleep. Hysterical reality of two in one.
Equilibrium alone can save them.
boustrophedonic script
the place is an operative field
coupling force / separation force
there is neither beginning, nor end
centripetal energy
I want to change my shape
I feel like an accident
One is born alone, one dies alone
Are we an exception?
Despair and anxiety are mingled with cursing, laughing, mocking, the ridiculous. Depravity, a morbid glance.
Eye/spy. Participative sensory attraction. Reluctant, yet fascinated.
A porno stare.



in bianco
volo nuziale senza ali
wedding flight without wings

forced icon Paola Bianchi
sound elaboration Roberto Cecchetto
scenography  Valeria Di Munno, Cristina Gallo Bruno, Erica Moscon, Sandra Pavic, Oscar Racca, Paola Silvestro, Elisa Stroppiana - Accademia Albertina Belle Arti,To Corso Scenografia E.Ajani & G.Costagliola

exposition. naked immobility of memory. certainty of “no more”. always the same story. everything has to reach rock bottom to be realized. she stays, motionless. she waits. if you’re waiting you are the wait. human being is the wait. what is he waiting? then go away. leave the reliquary, leave butcher’ shop of memories. show your broken wings.
      I DON’T LIKE HIM, LET’S KILL HIM
who are you speaking about? forced icon. your actions are shattering. you’re plucked like a chicken. small deaths distorted by keeping attempts.
you have an erection  and this place is full of it. misfortune. who did say the two most common images are cross and cock? do you want her to be silent and dressed? a madonna crowned queen inside the drawer of your bedside table?
      THAT’S ALL FOLKS!!



figura umana
teatri anatomici di Francis Bacon
human figure - anatomical theatres of Francis Bacon

concept and choreography Paola Bianchi
staging Paola Chiama, Paola Bianchi
lights Paolo Pollo Rodighiero
musical selection Lucio Spaziante
production  Il Mutamento ZC di cultura globale, Montenegrian Mobile Arts, Agar
collaboration to production  Santarcangelo dei Teatri















I Tiresias, though blind throbbing between two lives,
old man with wrinkled female breasts...

T.S. Eliot   The Waste Land

Lonesome and forlorn in empty, perverted space, here’s the body. both victim and slaughterer. prisoner and gaoler. motionless in an endless fight. flesh ripped open from inside. crucified, nailed down carcass. «The stink of human blood delights me» howl Eschilo’s Furies.
      FLESH             MEAT
where is the orifice, then, through which a body can escape? hole opened up. a silent howl. penetrating force of male sex against engulfing power of female.
      EMERGENCY POSTURES
here an inner battle begins, a war which is lost even before it’s waged, fought with equal weapons between stillness and motion, fought for survival, for thwarted desires, with blinding brutality.
      MIRTH IN THE DEPTHS
cheerful despair of beastly human disfigurement

enclosed in a fighting ground the exhibited body stands, to be «done», penetrated, looked at – spied upon in its privacy by perversion’s greedy eyes, both healthy and maimed, torn into pieces, the male body becoming female as it is made the object of a pornographic stare.
and like Tiresias, though blind, we are witness, throbbing between two lives, old men with wrinkled female breasts.



FreaK
living icon  Paola Bianchi
video  Elena Pachner Sarno
lighting and sound  Paolo Pollo Rodighiero

Before I fell asleep, I felt the weight of my fists at the end of my light arms.
                                                                     Franz Kafka

The icon dances. It's her rotten dance that continues and runs on. Estas son mis venas. The soul of the red remains suspended between flesh and heaven, between the fertile earth and the clotted blood of an open wound that does not bleed. A rope that does not break. Esto es mi cuerpo. Elastic stretched between the body and the dead image. Something that has already been done and is repeated live, as only the theatre knows how. Where does the fiction end? Silence. The mirror. A wounded body, displayed in its intimate deformation, a living yet mortal icon, an antithesis. The icon dances. She demonstrates. Her monsters.
Is it too heavy, too dark? FreaK, be free.

FK, a physical theatre production by Agar, was inspired by the life and works of the Mexican artist Frida Kahlo. FreaK is a reworking of the production, a show in which video image and movement merge together: the video is at times an indiscreet eye, constantly spying for details, at times an interpretative reinforcement.



FK
concept and choreography  Paola Bianchi
staging  Paola Chiama, Paola Bianchi
voice  Virginia Levy Abulafia
lights  Paolo Pollo Rodighiero
costumes  Roberta Vacchetta, Elena Gaudio
sound processing  Nicola Zonca
mexican traditional music
thanks to:  Teatro di Leo – Spazio della memoria, Teatro Dada di Castelfranco Emilia, Teatro Comunale di Cagli.

Whoever built a new Paradise
found the strength to do so in his own Hell.

                                      Friedrich Nietzsche

Born with the Revolution, Frida Kahlo both reflects and transcends this main feature of 20th Century Mexico. It is reflected in her images of suffering, blood-shedding, loss, maiming, but also in images of humor, gaiety, alegrìa, which were so important in her tormented life.
A happy, proud child, a sufferer from polio and from the typical Mexican habit of making fun of others, especially if disabled, non perfect. Handsome little Frida with German, Hungarian and Mexican blood, she became all of a sudden board-legged Frida, Frida pata de palo. Screams from forbidden playgrounds must have haunted her through her whole life.
In September 1925 a tram-car crashed against the tiny car in which she was travelling, breaking her spine and ribs; breaking the already hurt leg in 11 places. Her right shoulder remained forever dislodged, one foot was smashed. A handrail went through her back, coming out from her vagina. At the same time, the accident left Frida naked and bleeding, but covered with golden dust.
Like no other artist in our tortured century, Frida Kahlo translated her suffering into art. She underwent 32 operations, from her accident to the day of her Death. Her biography consists in 29 years of pain. From 1944 on she was forced to wear 8 corsets. In 1953 her gangrenous leg was amputated. Her hurt back sets forth a secretion that “stinks like a dead dog”. She is hung, naked, head down, by her feet, in order to set her spine straight. She loses her unborn children in bloody floods. She is forever surrounded by clots, bandages, needles, scalpels. She is Mexico’s Saint Sebastian,  and covered with arrows. She tragically incarnates Plato’s cruel description: our bodies are tombs, in which we are kept prisoners like oysters in their shell.

“I paint myself because I’m alone. I’m the subject I know best”. Not a painter of dreams, she would say, but a painter of her own reality. Yet Frida Kahlo still is the most powerful proof that what the French Surrealists had defiantly stated  has always been commonplace in Mexico and Latin America, a part of its culture, a spontaneous mixing of facts and Myth, dreams and wake, reason and imagination.
Frida Kahlo usually said that she had undergone two accidents in her life, the tram crash and Diego Rivera. No one could doubt her love for him. He was not faithful. She would scold him: how could he make love to women which were inferior to him, to herself? He admitted: “The more I loved her, the more I wished to hurt her”. She with her own many lovers, male and female. He could stand Frida’s women lovers, but not the men. She absorbed anything in her almost pantheistic way of loving him: “Diego principio - Diego constructor - Diego mi niño - Diego mi novio - Diego pintor - Diego mi amante - Diego mi esposo - Diego mi amigo - Diego mi madre - Diego mi padre - Diego mi hijo - Diego = yo - Diego universo”.
With Diego she shared her love for and faithfulness to Communism. Marx, Lenin and Stalin appeared in Rivera’s pictures quite as often as Christ, the Virgin and the Saints appear in the Catholic ex-voto which deeply influenced Frida’s painting. Yet in Frida’s political opinions there was more than that:  she was a pantheist by instinct, a woman and an artist involved in the glory of universal celebration, an explorer in the intertwining of all things, a priestess  celebrating the holiness of all things created.
There is a sense of humor in Kahlo transcending both politics and esthetics, and life’s own chords. Her voice, as every one who knew her tell us, was deep, riotous, broken by caracajadas, laughs, and by leperadas, foul speech. Her very attire was humor, a great disguise, a form of theatrical self eroticism, self enchanted, but at the same time defying her onlookers to imagine her sufferings, the naked body underneath, to discover its secrets.
Death came to her in Mexico, from Mexico, on the 13th July 1954. Unlike Europe, Death in Mexico is considered an origin. It is from Death we descend.; therefore we are all Death’s children. Without the dead, we would not be here, we would not be alive. Death is our companion. Frida was talented enough to cheat Death, by using her linguistic prowess to describe it: la Pelona, la Chingada, la Mera Dientona.

While it is inspired by Mexican painter Frida Kahlo, FK tells not the story of her life, nor does it transpose her pictures for theatre. Rather, it means to give a deep look into her desires and fears, her eternal ambivalence between glorification of life and fascination for death, denied motherhood and wish to give birth, beginning and end. Her painting tells the story of a body exposing itself, giving a feeling of anguish and excitation. She exposes her body just like martyrs did in Christian religious iconography. Paintings of a body, exhibitionistic painting: but isn’t our body here to be exposed? If not, then why should one write, paint or dance? Our wish to be seen, to be looked at, is as primary as our need to live. Her violated, tortured body, her capacity to survive, creativity, vitality, all constitute themes for her work: our means of artistic expression.



FLATUS, UN CANTO DA
score for two dancers and music

choreography  Paola Bianchi
drama  Giovanna Fiorenza
on stage  Paola Chiama, Paola Bianchi
original music  Ezio Bosso
lights  Paolo Pollo Rodighiero
costumes  Osvaldo Montalbano

Lagers, jails, mental hospitals. Different evidences, similar in their tragical way of being. Our work began this way, looking at the inner nature of tales and images.
The drama is an essential narration. It's night: inside a room, there is only a camp-bed, and a drop falls regularly and persistently. Two women, their nightmares, their frights, the torture-moment, the waiting, the help, the play; and then again torture, waiting, help, till the hope expressed in a stronger and more determined cry which can prevent suffocation.
Anyway, afterwards we went away from the realism of the story to discover its essence and try to translate emotions into "theatre".
During the work, we became aware that the different ways of expression pervaded one another in one single score for four instruments: two bodies, music and light; therefore no more music to accompany movements, no more gesture coming out of sound, no more light to colour the bodies, but an unique composition in which the interaction of the instruments is complete to give and narrate the emotion.
As in a quartet, the movements of the soloists fit one other, to create a unique melody and pure harmony.