“Dinamiche del Core”. Words of dance.
Two days of performances and reflections on contemporary dance. Rome, Teatro Palladium.
In the end, on stage, the company Atacama with “The Ambit”. In a semi dark scene, two characters illuminated by two different spotlights observe and study each other from a distance. Each of them has their own “ambit” and enclosure, a space for identification, delimitation and defence of themselves.
“L’ambito”, a performance by Atacama Company performed at Teatro Concordia on 15th September, is a work full of ideas and suggestions, an inlay of dance and music, showing the great ability of the two dance-actors Patrizia Cavola and Ivan Truol. It was the fourth engagement ofthe fifteenth national meeting “Teatri Invisibili” (“Invisible Theatres”).
In Teatro Concordia the public was able to enjoy the formal work and appreciate the “social” implications of the action, particularly the theme of the life of the individual in the contemporary world, boxed in confines like the cells of a honeycomb, between work, urban areas, restricted times and spaces.
The dancers-actors will show us, with their suggestive dance, gloomy music and grotesque figures created with their bodies, all the monstrosities of obsessive and selfish love. And every single detail will serve to render this message of unhappiness: the stage is very dark, rarely illuminated by spotlights that create horizontal or vertical lines, where the dancers walk or run dressed in their yellow and black clothes that catch the eye of the public.
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In the frame of what remains the most important of the Theatres of search in Rome, on 28, 29 and 30 April, the company Atacama, directed by Patrizia Cavola and Ivàn Truol, performed its production “Instructions to make ourselves unhappy”, which won the prize “Theatre of the City of Aversa 2007” … A world where to shape is always to be shaped, where touch arouses dismay.
This subject for discussion has been translated in the terms of dancetheatre by the company Atacama, whose choreographers Patrizia Cavola and Ivàn Truol created a piècefor four dancers-actors. The definition is very congenial to the light and ironical approach with which the four performers present the show. There is a perfect balance between performance and dance. They is a coherent and amused group able to render the psychoanalytical path of Watzlawick with depth and irony.
Brilliant, especially for connoisseurs. The theatre Fara Nume never misses events at the limit, whose main characteristic is elegant and cunning humour. This has always been a mark of the cultural structure of Via Baffigo.
Two dancers (only nominally a He and a She) immersed in an indistinct scenic space, with no physical barriers and unexplored, neutral like the sex of the occupants who, searching for the individual confines coherent with the laws of cognitive proxemics, permits them to appropriate or to refuse the other’s presence. From the very beginning of the pièce we witness the acquisition of the scenic space, with Him an imaginary puppet rising vertically, a novel man of Vitruvius, and Her writing horizontally, subtly underlining the physical differences between man and woman.
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The chaos surrounding us comes from bewilderment; it starts in the cosmos; its vision is initially universal, characterized by loud and pervasive music. The characters … create figures emitting power and fire through the constant contact of their bodies. Sometimes they talk, or urge in grotesque or parodic scenes. The clothes they wear could make them look like warriors in the most aggressive scenes.
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The choreography created and directed by the dancers Patrizia Cavola and Ivan Truol lies in a space between dance and theatre, arduous place of artistic expression where movement, vocal expression, music and other expressive forms made during the creation interact with each other. Like the previous performances “Dal Sud”, “Sguardo rubato”, “La Cama”, performed in the most important international dance festivals, also “Istruzioni per rendersi infelici” continues the way of the provocative theatre of doing, which requires effective scenic presence and physical power from its characters.
A bit Charlot, a bit Keaton, a bit Clodette Colbert, a bit Chagall‘s flying bride, the men and women who are the characters of “Istruzioni per rendersi infelici” bustle about their lives on an empty stage, dark, noisy as the world is. Dressed with black and yellow stripes like the crash test dummies, the four dancers of Atacama … have human faces, too human.
