In 2020, you participated in the first edition of the Visavì Gorizia Dance Festival with Instrument Jam. Now you are back with the premier of a choreographic journey that stretches from suffering to happiness. What do you most want to convey/tell the audience?
I would rather say what I want to convey in all my creations, not only in this work. I want to show the behaviour of humanity; I want to show what bodies know and can communicate to other bodies; but above all I want to show the magic that is created on stage. In short, through the body I would like to show the souls, the excesses, but also the fragilities that live within all bodies. In this work we show the desire for resurrection of a ‘lost’ humanity: rebirth not only of bodies, but also of souls.
If you had to describe your show in 3 words
Allow me 5, but there could be many more: poetic, aesthetic, ironic, violent, felt.
Tell us why we should come and see it
I prefer to convey a message of inner growth and greater altruism towards all dance. Go and see a lot of the 'theatre of bodies': this must be the intention. Having said that, come and see us too because you will see yourselves; yourselves in what you might not be able to do or would like to be. Come and look in the mirror at your souls. The body is 'only' a wrapping that imprisons a soul which needs to express itself and to welcome the other. We do not possess the body, as Heidegger also said. I would add: we are bodies that other bodies have the strength, and often the obligation or if you like the duty, to involve. With the emotions that dance can convey, the bodies of the dancers involve the bodies of the spectators, your bodies, in what is existential in you, not in a vertical or theological sense but in what Sartre used to say, that is, in search of what we will be, what we will become and yet are not, given that the mankind always questions the meaning of their existence. And I believe there is no better and effective artistic expression than dance to reach this intimacy. For this reason and many others, you must come to the theatre.
According to your personal experience, a border is
Personally, the word “border” does not belong to me, at least when it is meant as a boundary space without any possibility of transit. The border tends to force, especially if it is not made up of small empty spaces where it is possible to implement manoeuvres, entrances and exits free of any prejudice where one can recognise the freedom of belonging. Ulysses, as claimed by many philosophers, is the highest example of a desire to trespass into freedom.
Tell us as if you should explain it to a child: why have you started dancing?
My personal experience began out of love for a young girl who danced. Very soon, however, it turned into an experience of passion and consequently of falling in love with dance itself; a passion and love that is still a pivot in my life as an artist.
Piece of advice to a starting company
I do not like to give advice because each individual needs to have a particular attitude towards work, and even more so towards the artistic creation. If I am really put on the spot then my advice is: don’t be in a hurry, believe in yourself by putting great passion and dedication to sacrifice. We are not in a talent show where you look for the X-factor at all costs in the shortest possible time; in “real” life, if there is talent, sooner or later it reveals itself and puts its cards on the table; then you have to know how to read these cards by trying not to bluff, but rather by putting your own authenticity on stage as much as possible.
