Scena Madre

Directed by and Musical project and compilation by






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COMPAGNIA ABBONDANZA/BERTONI (Abbondanza/Bertoni Dance Company)

With support from:

MINISTERO PER I BENI E LE ATTIVITA' CULTUTALI-DIP SPETTACOLO (Italian Ministry of Cultural Heritage and Activities)

DIP.PER SPETTACOLO,PROVINCIA AUTONOMA DI TRENTO (Theatre department,Auntonomous Province of Trento,Italy)

SERVIZIO ATTIVITA CULTURALI COMUNE DI ROVERETO (Culture Heritage dept. of Rovereto(TN) town council)

ASSESSORATO DELLA CONTEMPORANEITA' (Local Authority for contemporary arts)

FONDAZIONE CASSA DI RISPARMIO DI TRENTO ROVERETO (Cassa di Risparmio banks of Trento and Rovereto)

REGIONE AUTONOMA TRENTINO-ALTO ADIGE (The Autonomous Region of Trentino and Alto Adige)




Public Intimacy.

Once again we are drawn by our curiosity to put together performers who are strongly characterised by the way their personalities have been influenced; influenced physically as seen in -Le Fumatirici di Pecore-or biologically as in this new project where we find mother and daughter on stage. Out of this intimate meeting we won't see the unfolding of a story or subject but rather the resulting effects of  actions.

Our two performers are like two chemical solutions(all of us being after all a wonderful and dramatic result of a chemical combination) producing a chain of chance events which we carefully follow. We contain these events and then where necessary delve deeper into them. Putting different people together is always interesting and can become even more interesting when these people are “special”.

Putting mother and daughter on stage together runs the risk of creating something which is merely an “effect” and therefore something superficial, unless we look deeper into this relationship and manage to bring the inner hidden depths up to the surface and  out into the open.

Through our imagination everything can seem magnificent but then reality(theatre is truly real, it's there and people are there in the flesh to watch you)requires a clear shaping of things. The sentiments which take shape need to be alined in a way to make their presentation on stage flow normally and naturally.

We could say that this project is our desire to put the extraordinary on stage and turn it into something ordinary therefore making it easier to comprehend.

We believe as in our previous work that by putting together two living oxymorons in their diverse beauty(-Le Fumatrici di Pecore-)we are able to “theatrically” draw two different bodies which have been totally intimate closer.

In short, we wish to create another “intimate meeting” looking for the work as it evolves, in all its physicality rather than representing a story which uses the bodies as mere narrative tools. The hatching of the plot  gushes from these narrative bodies in all their forms(otherwise concealed) allowing the public to see into their precious intimacy. This meeting on stage of mother and daughter is also a union between who has performed a thousand times and who has never been on stage. Once again, as in -Le Fumatrici di Pecore-,we want to turn a big difference into an equality.

We await the result of this putting together ,this chemical reaction, the creative big bang of a birth.  (M.A.)



“Would you perform on stage with me?”

I asked this question to my mother; I asked her legs, her back, her arms, her head and her courage. I asked her in order to come back to her and her whole existence; in the search for something which gave voice to her silent side, herself so loyal to thinking, reacting and feeling through preconceived  values(according to my not impartial, naturally, point of view).

Noone's body could exist less for me, noone's exists more: a taboo, a store of imprinted influences: classic, loved, refused, mythical, sacred and now suffering and fragile, a primitive beacon, a prehistoric temple.

So different and at the same time so unquestionably ourselves; we'll never cease to be a mother and daughter.

We move between few objects in a blurred space, shrouded in a fog perhaps metaphoric of a blurred interior due to illness and fault.

We carry out apparently moderated actions; the essential is not told out in a story but it is shown.

A place for exhibition, reconciliation on bare ground.

In this way we have brought our bodies together, I touched hers as firmly as I could using the influences she first imprinted onto me which pushed me to take part in the National Gymnastics Team at 14 years old, influences which I then continued(deluding her?)shifting them from the gymnasium to the stage.

It is here in this place so familiar to me that I wanted to bring her and she let me take her there in order to arrive, gradually, a little at a time at our - Scena Madre-;moving, beautiful, epic. (A. B.)

2012. Teatro Comunale di Bolzano – Festival Bolzano Danza  (prima assoluta); Teatro Impero –  Brindisi.
2013. Auditorum Melotti – Rovereto (TN); Teatro Comunale Filodrammatici – Piacenza; Teatro Kisme Opera – Bari; Castello Pasquini – Castiglioncello (LI); Parco Ex Ospedale Psichiatrico – Racconigi (CN); Teatro La Cucina – Milano; Teatro Cuminetti – Trento; Cantiere Florida – Firenze; Teatro delle Passioni – Modena.
2014. Teatro degli Atti – Rimini.
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