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Try

running time 50’ - created in 2006

by
MICHELE ABBONDANZA e ANTONELLA BERTONI

performed by
ANTONELLA BERTONI

lighting design
LUCIO DIANA

technical director
ENRICO PECO

organisation
LUISA COSTA

produced by
COMPAGNIA ABBONDANZA/BERTONI

with the support of

MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI – DIP. SPETTACOLO
PROVINCIA AUTONOMA DI TRENTO - ASSESSORATO ALLA CULTURA
COMUNE DI ROVERETO - ASSESSORATO ALLA CULTURA
CASSA RURALE DI FOLGARIA - FILIALE DI ROVERETO

special thanks to
Danio Manfredini/CID  Centro Internazionale della Danza/CRT Centro di Ricerca per il Teatro 

 

We leave the five-year cycle of the project I have an Other-ache. The final image of Polis dissolves (’05), last part of the triptych, with its weary figures, immolated on the third sacrificial altar. After the paths from the family to the state and from the couple to the mass (Alcesti ’02 and Medea ‘04), we feel the need for a silent atmosphere, rarefied and more intimate: as if the stage floodlights turned and repositioned themselves from the outside to the inside, from he exterior to the interior, from the “other” to the “self”.

Let us imagine an solitary body, abandoned on the stage, seed of a new dynasty, witness of an ending as well as founder and survival of a different dawn. In hesitation and immobility, it will bring to light its utopia, and this will give sense to its being alive, alleging against all evidence that life does have a meaning. Beginning of a path in solitude, of a new departure, of a crossing.

In that body are all bodies and the history of the whole of humanity: a female body, then. And since words fail before images, the human figure will appear primarily as a shape; in its being aura and frontier, we have tried and understand how the soul can keep itself within this profound wrapping, and how, with wrenches and silence, it can create a mystery out of the substance by which it is imprisoned. Material of the essence of universe (or “of the dreams” W. Shakespeare), so proficiently combined, but still source of new perceptions, if only we listen carefully: the wind, the river, the mountain from which it originates; the births which generated it and which it will still generate; the stones in its bones, the salt, the iron melted in its veins. A shape that, if shook by deep passion, will transform itself and remodel the substance it contains into something distant and wholly different.  

 

Silence: it's the body which is talking. The beautiful body of Antonella Bertoni. Performing alone - in an empty set and most of the time without any music - the well-known  dancer and choreographer has surprised and captured once again the large audience of the Teatro al Parco, with a solo, the first of her career, of great power and emotional intensity [...] In this incessant fight in order to assert the restlessness of an evolving femininity, some scenes remind the magic of Trauffault in « Enfant sauvage » [...] In this new and fascinating performance, the artist (who is getting greater and greater, and always different) deals with the birth of an identity that is forced to face the obstacle of pain, as it is confirmed by her skinny body,  constantly shaken by a vibrating tension [...] The performance is an invite to continue to mistake, learn from errors, ...«Try».

Maria Cristina Maggi, « Gazzetta di Parma », 11 February 2007

 

An intense solo of fifty minutes that joins together a personal narration with the guidelines that have always inspired the poetics of the two choreographer-performer: a dance free from codes [...] that finds the way of feelings through the movement.  

Carlo Argiolas, "L'Unione Estate", 22 September 2006

 

[...] The solo, performed by Antonella Bertoni, deals with the hope: in the meaning of life. The few words screened at the end of the show translate what the dancer has expressed through a path that sees her being born, trying, making mistakes, and finally finding [...] In front of the spectator appears the birth of an identity: not its disintegration.

Tommaso Pasquini, "Trentino", 26 July 2006

 

On the stage a body alone, with an essential and undecorated scenography: long silences and wide gestures, with the arms, the trunk, the hair, in order to tell how to build an identity [...] a performance of reflection and deep introspection.     

p.n, "La Repubblica", 24 March 2007

2006

Prova d’assolo davanti al pubblico - Drodesera>Centrale Fies;

Autunno Danza - Cagliari; Magli Danza - Bienno (BG);

Try CRT Teatro dell’arte Milano (prima nazionale - 26 ottobre):

Try Teatro alla Cartiera - Rovereto

 

2007

ATER/Teatro delle Briciole - Teatro al Parco - Parma; 

ITC - San Lazzaro (BO);

Fondazione Umbria Aspettacolo - Teatro Excelsior - Passaggio di Bettona (PG);

Teatro Telaio - Brescia;

Festival Interplay - Fonderie Limone - Torino.