Project I have an Other-ache – part II
running time 75' - created in 2004
MICHELE ABBONDANZA and ANTONELLA BERTONI
ELEONORA CHIOCCHIN, MARCO MERCANTE,
MARCO PENITENTI,ANTONELLA BERTONI, MICHELE ABBONDANZA
set and lighting designer
organization and press office
LUISA COSTA, CHIARA BILLE
in association with
ARMUNIA, TEATRO COMUNALE DI FERRARA, DRODESERA>CENTRALE FIES, TEATRO DELLE BRICIOLE, MASSALIA-THÉÂTRE DES MARIONETTES, OPERA ESTATE FESTIVAL VENETO, LA CORTE OSPITALE
the project has the support of
ASSESSORATO ALLA CULTURA – PROVINCIA AUTONOMA DI TRENTO
special thanks to
CENTRO S.CHIARA/TRENTO, TEATRO PETRELLA DI LONGIANO
Man against woman, Greek against barbarian.
Is it possible to put love above any other value?
To the point of justifying any sort of sacrifice?
What happens when passion collides with order in a community, or erotic desire with maternal love?
When is it possible for an outsider to truly stop to be one?
Is marriage marketable? With a property?
We have no answers, neither written nor spoken.
Usually are men who, being excluded from generating life, find death to be a more powerful place because it takes life away.
Not in this case.
For Medea not even maternity can be an inescapable fate and for this reason she eludes common logic; she can only be a part of a narrative or of the theatre or of languages related to poetry, which comes into play right when and where other languages fail to mean anything or don’t mean enough.
In our free inspiration by the myth of Medea, we have mainly followed the path set out in the “Argonautiche” by Apollonio Rodio (3rd and 4th book) for the first scene, the enchantment (Thessalian tradition, focused on the exploits of the Argonauts). For the second and third scenes – the disenchantment and the children - we have followed Euripide’s tragedy (Corinthian tradition, centered on the tragic fate of Medea’s own children).
We show these three parts distinguished by the falling of a drawbridge, a black mouth that pits out and sucks in the characters, and by Eros’ shooting of three arrows in Medea’s heart.
[...] "Medea" is an overwhelming, strong, extreme performance that leaves breathless and rises several questions. It reforms the concept of "dance", discovering the narrative form of it and making it abstract. The audience of the "Ponchielli Theatre" has witnessed astonished a "Medea" which confirms the will of experimental dance of the couple Bertoni-Abbondanza, two bright dancing and thinking creatures.
Nicola Arrigoni, “La Provincia”, 23 July 2004
Michele Abbondanza e Antonella Bertoni have brought on the stage their dance-theatre, which is made of ideas, talent, well-known technical skills and plenty of poetry. A show now complete and ready to conquer the audience thanks to its intensity [...]. Long applauses, for a long sequence of emotions.
Marina Grasso, “Il Mattino - La nuova Venezia - La tribuna di Treviso”, 23 July 2004
La coppia, voce del corpo, voce dell’anima
di Francesca Pedroni
2003. Prime Visioni – TeatroComunale di Ferrara (10-11 dicembre);Teatro Herberia – Rubiera (RE). Presentazione Studio per una Medea.
2004. Opera Estate Festival Veneto – Palabassano – Bassano del Grappa (prima nazionale – 20 luglio); La Danza – Teatro Ponchielli – Cremona; Drodesera> Centrale Fies – Dro (TN); Enzimi – Teatro A. Jovinelli – Roma; Tracce Mediterranee – Teatro Verdi – Sassari; Teatro G. Magnani – Fidenza; Teatro Solvay – Rosignano Solvay (LI); InDanza – C.S.C. S. Chiara/Teatro Sociale – Trento; Serata al Parco, Un posto per i ragazzi – Teatro al Parco – Parma.
2005. CRT-Teatro dell’Arte – Milano; Teatro Comunale Asioli – Correggio (RE).
2005. La Friche la Belle de Mai – Marsiglia (Francia).