“P.O.M.P.E.I.” by Roberto Fratini Serafide (Italy, France)
By Stefano • May 18th, 2008 • Category: Agenda| June 19, 2008 12:00 am | a | June 23, 2008 12:00 am |
P.O.M.P.E.I.
choreography by Caterina Sagna
text by Roberto Fratini Serafide
production Napoli Teatro Festival Italia, Compagnia Caterina Sagna - Association Next (Rennes)
in coproduction with Théâtre de Garonne (Toulouse), Théâtre de la Ville de Paris, Festival d’Automne, Théâtre de la Bastille de Paris, Théâtre de l’Agora (Evry)
thanks to Teatro Fondamenta Nuove
from 19th to 23rd June 8.00 pm
Teatro Instabile Napoli
First night
language Italian
duration 45′
set-design and costume Tobia Ercolino
music curated by Luca Berni
light-design Philippe Gladieux
with Alessandro Bernardeschi, Antonio Montanile, Mauro Paccagnella
stage director Philippe Gladieux
organization Céline Gaudron
admin Dominique Mahé
production director Napoli Anna Damiani
In June 2008, at the Teatro Instabile, the first excavation in P.O.M.P.E.I. (town, or abbreviation; not a name but the intermittence of a name: Poco Ortodossi Maldestri Piccoli E Inutili), will make its debùt. A second excavation (Presque Oubliées Mais Peut-Être Immortelles) will be presented in France at the end of the year.
These two independent but consequent phases of P.O.M.P.E.I., are named “consecutive excavations” as they outline the history of a find, precisely an excavation, of the forms that survive out of ourselves, of the secrete revelations of the disaster that likely is the very source and the real destiny of any form, of the obscure awareness that “once we were but we are not any longer”, of our fragile History, defeated by Time. The first excavation is focused on the imperfections that soil the neutrality usually required to dancers; three human forms come out from the strange, informal lava flow flooding the stage to lap the few spectators.
The work will be performed at the Teatro Instabile, a small-sized theatre that, as explained by the authors, has raised their interest «because of the type of perception experience it can provide. Experience of the perception, as a journey through the organic detail, the emotional detail, the collateral symptom of interpretation. The intimate atmosphere of the place will enable to give up bombastic acting, as we will be more interested in the mysterious eloquence of the forms themselves».
Caterina Sagna started her work as actress in the Compagnia Sutki of Turin, under Anna Sagna’s direction. In 1980 she became a member of Carolyn Carlson’s Company at the Teatro La Fenice of Venice and participated in various Jorma Uotinen’s performances. In 1987 she founded the Compagnia Nadir and started a cycle of choreographies drawn from literary works. This first stage of her work, characterised by a visionary and introspective research, finalised in 1999 with a trilogy consisting of the two solo Cassandra (Christa Wolf) and Esercizi spirituali (Ignazio di Loyola), and the duo La testimone (Lluïsa Cunillé), developed with her sister Carlotta Sagna. In 2000, she founded in Italy the Associazione Compagnia Caterina Sagna. With the creation of La Signora (2000), she started a new period characterised by humour and irony, a new aspect of the choreographer. In 2001 she started co-operating with Roberto Fratini Serafide, author of the text and dramaturgy of Sorelline, Relazione Pubblica (2002), and Heil Tanz! (2004). In 2005 she moved her company to Rennes where Basso Ostinato was awarded the Grand Prix du Syndicat de la Critique as the best dance performance of the season.
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