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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)
Created in  2011

A dual performance of two parallel choreographical scores in which no relationship  intervenes,moving through a space as far as the furthest possible distance within 20m2 down to the close  physical configuration of  final far reaching compassion.

Each of the two interpreters follows their own path within the space,time and forms they take on,being influenced by what moods they're in and how they can build on those moods,depending also on how they regress,repeat themselves but also overlap.They thus create new actions out of the  results of previous actions.They ignore each other (Utopic in just 20m2), they try to keep to their own paths whilst simultaneously being aware of belonging to and returning into the same image.  On carrying out these two free “executions”one detects their growing consideration for each other until their two individual paths begin to cross, at first only finding the odd things in common  but going on to cross paths more and more frequently eventually leading them to virtually hang on to each other.They gradually become like two cast-aways clinging on to a wooden raft;not for the love they feel towards the raft but for the love they have for their own salvation and therefore their own selves. As previously mentioned,as well as being “free”(part of the action will be open and left to the impromtu:neither in the making of this work was one rehearsal the same as another),this work also presents us with a “dual”performance.It is “double” in the way that despite being almost entirley composed  of solos we believe that it can belong to the duet form. Who will see and not only recognise our choices will be able to find bridges between the two people or ,on the contrary,solutions for continuity between the two. The idea may be illustrated by comparing it to  a particular sporting event,that of the“paralell”alpine skiing race:the competitors speed down two parallel juxtaposed slopes one beside the other , alone in their being two of them, ,immensely concentrated on themselves,being similar and also complices in what they represent but with one  sole purpose;that of winning against the other. On our stage however we don't have anyone wishing to win against the other since competetivity would imply entering into a relationship.It is for this reason that that their remoteness can seem more enhanced passing from the initial,unhearing and solitary indifference through flashes and attempts at imitation leading to the reciprocal,fragile working together towards a composition of far reaching compassion. Executions therefore,even in the form of capital punishment(alluded to not so subtly in the title)could be a common destiny in our continuing “relentless dance”of life. The characteristics,the inventions,the shapes( known as using the horrid term” the stylistic figures”)of the authors who are also the interpreters  here, are easier to isolate and visualize without external interference and, as though they are being put under a microscope for a germ-free analysis, seen in an almost self destructive and merciless way. Obliging ourselves to keep a double pass (“How many pleasant thoughts,how much desire/Conducted these unto the dolorous pass!”Dante) we present here,sharing our presentation with the audience,two types of executions summarised as  “capital” or “simply danced”  (M.A)




Every branch stems from one trunk,

Never losing sight of the whole tree,

In the friable earth of time,

Of things that appear and disappear,

We stay.

Grateful for existance,and its foolishness,

We can feel closer,

One to the other.

As an itimate scene before the curtain opens,

When the audience stands,

Lighter,or heavy,

There,the body and its actions

Carry the creative spark.

That body which is,makes,evokes,

A bridge across to drama.

The stamina(required)is partly a healthy stimulus 

Partly an expression of  what's fundamental,

Like a need we have

Left orphans by the vanishing of collective participation.

We are forms which in time move across a space.

A man's body is sacred

And a woman's body is sacred

We belong to this place

And we each play our part in the procession.

We wish to understand.

Is the other an end or a means?     (A.B) 

2011.     Auditorium San Domenico  – Foligno (PG) (premiere); Piccolo Teatro Nuovo – Abbiate Guazzone Tradate (VA).
2012.     Teatro Tatà – Taranto; Teatro Traetta – Bitonto; Cantieri Teatrali Koreja – Lecce.
2013.     Teatro Kismet Opera – Bari; Teatro Sociale Bergamo.
2014.     Auditorium Melotti – Rovereto, Pim Off – Milano; Teatro LaCucina – Milano, Teatro Petrella – Longiano (FC).
2015.     Teatro Comunale – Cagliari; Palacongressi – Riva del Garda (TN).
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