Project I have an Other-ache – part III
running time 80' - created in 2005
MICHELE ABBONDANZA and ANTONELLA BERTONI
MATTEO REZA AZCHIRVANI, ELEONORA CHIOCCHINI, DIEGO INVERNIZZI,LORENZO LUTTERI, CHIARA MICHELINI,TOMMASO MONZA, ANTONELLA BERTONI, MICHELE ABBONDANZA
ALBINONI, CHOPIN, VERDI
set and lighting design
costumes made in association with
FESTIVAL ORIENTE OCCIDENTE
with the support of
ASSESSORATO ALLA CULTURA - PROVINCIA AUTONOMA DI TRENTO, ASSESSORATO ALLA CULTURA - COMUNE DI ROVERETO, CASSA RURALE DI FOLGARIA - FILIALE DI ROVERETO
SHOW CURRENTLY NOT IN PROGRAMMING
Tragedy keeps surrounding us, much more than it did in 2000, when we started our work about love sacrifice.
Creation after creation the number of victims has increased, following an even numerical principle of growth of the sacrificial lamb: from his own sacrifice in Alcesti, to the sacrifice of the two children in Medea, till the sacrifice of an entire community in Polis.
Polis means city, but the word also refers to politics. On stage, people keep appearing and disappearing, according to the idea that whereas there was someone before, in the following instant no-one still remains.
In the sequence of images one can recognize time by time a myth that engenders the action without necessarily being its main subject. The consequent tragic content is not represented, being instead the occasion to define tragic forms without any explanatory purpose.
Every character shows different human types through his physical and acoustic mask.
All of them [the performers] wear black men’s suits, white shirts and bowler hats. Abbondanza takes the role of a kind of militar kuroko (servant of the stage) in a sailor suit and director at the same time, who physically moves and shifts the dancers. Bertoni is the dramatis persona who dances, bare-breasted and long hair untied, an expressionistic solo to an excerpt of Verdi’s Dies Irae. And at a certain moment, with her hair tilted back and sideways and her gaze cast at the ceiling, she looks like a baroque Madonna. In the centre of the stage actors go in and out of a huge wooden box before it is disassembled, plank by plank, as the action goes on.
Elisa Guzzo Vaccarino, “Ballettanz”, October 2005
La Compagnia di danza Abbondanza/Bertoni perfora l’acme intollerabile del ghiaccio umano verso gli esclusi con l’ardore rovente della pietas totale
di Leonardo Filaseta
2005. Festival Oriente Occidente - Teatro alla Cartiera - Rovereto (prima assoluta - 2 settembre); VIE Scena Contemporanea Festival - Teatro Storchi - Modena; CRT- Centro di Ricerca per il Teatro - Milano; Teatro Bonci - Cesena.
2006. Teatro Verdi - Pisa; Rassegna Fuori Contesto 2006...out limits zone - Teatro del Parco Mestre (VE); Interplay-Danza di parole - Teatro Astra - Torino; Inventari Superiori - Castello - Desenzano del Garda (BS); Rassegna Il Grande Fiume - Reggia - Colorno (PR); Rassegna InDanza - Teatro Sociale - Trento.
2007. Castello Pasquini - Castiglioncello (LI); Teatro Comunale - Teramo; Sito ASrcheologico di Egnatia - Fasano (BR); Teatro Politeama - Catanzaro; Teatro dell'Università - Cosenza.
2008. Teatro Comunale - Casalpusterlengo (LO).