by Michele Abbondanza e Antonella Bretoni
performed by Eleonora Chiocchino, Chiara Nichelini, Tommaso Monza, Antonella Bretoni, Michele Abbondanza\live set Elisa Amistadi, Michele Bazzanella
music project Corrado Bungaro, Carlo La Manna
original music Amistadi, Bazzanella, Bungaro, La Manna
lighting design Lucio Diana
costumes made in association with Rizzi Sartoria
technical director Enrico Peco
organization and press office Dalia Macii, Marika Errigo
produced by Compagnia Abbondanza/Bertoni
co-produced by Festival Oriente Occidente, Centro Servizi Culturali di S. Chiara
with the support of Ministero per i Beni e le Attività Culturali- Dip. Spettacolo, Provincia Autonoma di Trento – Assessorato alla Cultura Comune di Rovereto – Assessorato alla Cultura, Cassa Rurale di Folgaria – Filiale di Rovereto
special thanks to Mauro Casappa, Roberta Giordano
RUNNING TIME 70mins
It’s available a shuttle bus from Teatro delle Passioni to Ponte Alto. Departure time an half an hour before the beginning of the play
We do not submit to caprice since we consider its possible satisfaction useless: therefore this performance is called Caprices.
Same as the audience seated, so the dancers you see on the stage are here on their own volition. There could have been eight, or two, or fifteen. There are seven of us by chance and necessity.
We persisted on this road of necessity and chance when we assembled the first fragments of the performance, and immediately realized that we did not want to explicitly relate anything to anything else. Not to a logic, nor a character, nor our actions to a meaning. We wanted to neither tell nor instruct. What was happening was, above all, movement: our bodies sensing the difference between on and off. Simply walking or standing in space, not necessarily aiming at a bridge towards something else.
We subjected the musicians to the same conduct, denying them points of reference and asking them to be provocative in absorbing every sort of music, sound and noises, re-claiming this capricious mixture.
We wanted to design a dance about nothing in particular. With no messages, with nothing to say. And, of course, we realised very soon that nothing could be more utopian: that to cancel out communication was impossible, and yet we could get close through continually de-emphasizing meaning. I do not know whether we succeeded; however, success is not what we were interested in. We needed to measure ourselves with gestural aphorisms, dancing haikus, physical proverbs, gestural maxims: in other words, letting the body do what it may.
Allow us the attempt to make you happy, at least for a while, without consuming anything, since happy people do not consume.