MICHELE ABBONDANZA and ANTONELLA BERTONI
coreography in collaboration with the dancers
MARCO BISSOLI, SARA CAVALIERI, CRISTIAN CUCCO, LUDOVICA MESSINA, FRANCESCO PACELLI
light design and technical direction
music and collaboration to the project
collaboration to dramaturgy
administration and logistics
press and communication
with the support of
MiBACT - DIREZIONE GENERALE PER LO SPETTACOLO DAL VIVO
PROVINCIA AUTONOMA DI TRENTO – SERVIZIO ATTIVITA’ CULTURALI
COMUNE DI ROVERETO - ASSESSORATO ALLA CULTURA
FONDAZIONE CASSA DI RISPARMIO DI TRENTO E ROVERETO
The impression made by the group has a political and ironic value in our opinion: these hyenas are not such; these minotaurs do not claim victims extraneous to the their entourage. The group remains cohesive in the indifference of the others, only observed as foreigners (the public), while one's own existence unrolls in a exclusivism that seems to allude to a choreographic - generational expressive cut, to certain so-called Millenials, arrogant but calm who care little about those who do not have their age, and then indulge high and noble causes, or indulge the most sordid
adventures. Forced reading? Maybe, who knows....
Marinella Guatterini, Wall street international, november 2020
Hyenas is a masked ball. Five characters arrive on the stage in a theatre. They repeatedly go about a cycle of presentation, preparation, dance. Through the unmaskings which follow they evoke generational frameworks, also linked to the world of contemporary youth, thus expressing their different ways of being: on the one hand the "global" uniformity of the flock and its need for the tribal, archetype and myth; on the other hand the violent, menacing and solitary sneer of the hyena.
Quotes and notes:
"Give a man a mask and he will tell you the truth" O. Wilde
If the face is the theatre of man, the mask that covers it is the stage set. The face is seen, it is called "the face" and can therefore choose to be "facade" or "blatant".
Thus with a mask. We investigate the relationship between these two "faces", one naked and uncovered and the other masked and covered. This gives shape to and develops the tension between the rigidity of the mask and the secret behind it. The process creates more levels of camouflage and makes them take action, it's ideal humus for our hyenas, allowing them to act and achieve reaction in the concealment of the human being and its deepest feelings. With the metaphor of a masked ball we intend to stage faces of contemporary humanity and its intrinsic inability to keep silent. Perhaps this inability only belongs to the mask: a final state where things converge and end in that wonderful metamorphosis which is the expression of every face and body.
"The use, common to all European languages, of the word "person" to indicate the human individual is, without knowing it, pertinent: person means, in fact, the mask of an actor, and in truth no one shows himself as he is; everyone, instead, wears a mask and plays a part". A. Schopenhauer