Theoretic/performative action 2
Breathing us- Work in progress
Francesca Proia/Adele Cacciagrano
Ex Ospedale S. Agostino, Modena
20/10/2011
, 
17:30
The relationship as engine and beginning of everything. The reign of air that makes possible the vision, the transmission of light and sonic waves, the same emission of the words and their travel inside the hear recess.
The breathing as an elementary condivision of our only house.
running time 40'
On the ground. A theoretical.peformative revival
Overground required the dissociation from theatrical space. The performer has been immortalized by the photo out of his most congenial habitat. A délacement that generated the tweak of unknown scenic perimeters, other visions, new landscapes, uncommon spacial configurations. It's like saying about all of what potencially that scene could indicate and could be able to do. Not for telling us that someting is happened, but for talking about its leap and its impetuosity. It's a political and imaginary matter, because a process of seeing, a sight, a tissue of infinite and variable system of space are building around the performer-object.
Overground investigated the intersection areas, the shift and stitch ones between the firmness of the photo and the analysis of the new scene that has been produced by this. Both actions requested different kinds of movements, different writing forms. From the scene to the landscape the shape is rising. the theoretical-perfroming actions hosted in the Luca del Pia's exhibition, in Ex-Ospedale Sant'Agostino, are an acceleration proof. In respect to Overground the time changes.
We can experience the private and public meeting between performing act and theoretical gesture. We can see from the hole from which you can spy, hidden, an intimacy theoretically unreachable (without theory). Sometimes the proof can request other simulations. An impermanence. A disaster writing. The separation. The exotism.
We leave at the same time the stage and the book shape, just to indicate the birth of a new kind of writing in a never-ending sequence. The writing unities that are produced and shown in every action, don't fit defintive concepts, instead they denote a "theory", meaning "inventory". The list is organised by a cahotic and discordant texture.
They are writings that are inconstantly and firmly alligned to the shape. Writings for exhibition, contact and pressing, without sheet, ink or seed dispersion.
A writing, in the end, that is ready for the destruction of the original in the same moment in which is impressed.
Francesca Proia/Adele Cacciagrano
Francesca Proia
Dancer and choreographer. Graduated in Conservation of Cultural Assets. She starts studying yoga in 1992, getting during the time an international and specialized formation. Then, she develops a personal research improving herself and co-operating with some of the most important contemporary yogi. She becomes a member of the Habillé d'eau company. After having worked for a long time with the butoh dancer Masaki Iwana and with the director Romeo Castellucci/Socìetas Raffaello Sanzio, since 2003 she creates a series of solo dances, with Danilo Conti's collaboration, actor, director and author, focusing on the thin bodu nature in comparison with objects, space and perception. She is selected by Fondation Cartier Paris for the performance Buio luce Buio (2004); in 2005 she gets a Honorable Mention for Premio Scenario/ETI and for Premio Iceberg with the work Qualcosa da Sala; Il non fare wins the announcement Pépinières Européennes pour Jeunes Artistes (Paris/Huesca). Her work has been presented in France, Germany, Belgium, United Kingdom, Mexico, United States, Japan.
www.myspace.com/francescaproia
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