Upcoming projects: Tra le linee

Tra le linee

(between the lines)

 Choreography for a double quartet

Project  Simona Bertozzi, Claudio Pasceri

Direction and Choreography Simona Bertozzi

Music program L.v. Beethoven, die Grosse Fugue op 133 per quartetto d’archi, Wolfgang Rihm, Zwischen den Zeilen per quartetto d’archi

Choreography for four dancers names to settle

NEXT, New Ensemble Xenia Turin Adrian Pinzaru, violin –  Eilis Cranitch, violin – Mizuho Ueyama, viola – Claudio Pasceri, cello

Light and set design Giuseppe Filipponio

Producers Torino Danza Festival, Estovest Festival, Nexus

Management and promotion Irene Bertolina, Beatrice Capitani

With the support of  Mibac, Regione Emilia Romagna, Compagnia di San Paolo, Regione Piemonte

In collaboration with  Fondazione Nazionale della danza | Aterballetto

 

 

The project

Una cosa è il tempo con le sue molte determinazioni,

altra è il semplice fatto che le cose non “sono”: accadono.

Rovelli

 

A matter is the time, with its various determinations,

Another matter is the fact that the things “are” not: they simply happen.

Rovelli

 

This meeting sets itself in the space of the proximity, in the wideness of the looks and of the shades of perceptions, in the capability to manage our own singularity.

We found in that way different levels of cohesion and clutch, warmth and evanescence.

Seen in a wider way, this meeting condition can be described as an anthology of relationships, a collective dimension of sharing and contacts, used to find new geometries and imaginaries with the help of osmosis and irradiations.

This is an Architecture which has a generative power, which can build volumes, relations, share path and territories, composing new pattern stabilities and off balances. The boundary becomes a generative happening, re-born by its own impacts and cohesions with the bodies which inhabit the space.  

This meeting could be seen as an epidermis tension, which is already real, even before it has being comprehended, an occurrence which emerges by the invisible.

Between the lines.

 

In that transparent and strong weaving is founded the creative engine of the work.

Between the lines  is the statement of an encounter,  a dialogue between the body signs in the space extension and the music scores which delineates the formal and narrative boundary, moving into transparencies and cracks.

The body vocabulary and the Beethoven and Rihm music phrases melt in a complex counterpoints substance, made by short-lived strength poles which suddenly disappear and evolve in other balances and breakages dynamics.

 

 

Music structure

Die Grosse Fugue op 133,

“Il Contrappunto del Silenzio”

L v Beethoven Die Grosse Fugue op 133, for string quartet

Wolfgang Rihm, Zwischen den Zeilen, for string quartet

 

With the pioneering Beethoven’s creation of the op 133, the western conception of the quartet lands to one of its most important expressive and formal point.

The tension, the collision of the sonic matter has never known such an high moment before that one in the entire music history.

An “iceberg fluctuation” which brings the western music knowledge in a strong landscape, full of symbols and totally unpredictable.

We can define it as a music sailing in the open sea, in which the Beethovenian imaginary and the contrast between the good and the evil, the light and the dark, the sound and the silence comes to an enigmatic and stubborn evolution.

The silence had never had such a dramatic sense and a unescapable function.

The short and mesmerising piece of Wolfgang Rihm Zwischen den Zeilen , literally “between the lines”, is a fundamental element in the artistic project structure. Indeed, it will be the joint between the quiet and the calm which proceed and follow the Beethoven piece. It will be a sort of music intermittence, sound strips crossed by the music tension, preludes of a strong pathos and moments of total abandon to the silence.

 

Choreographic structure

The encounter between the movement dimension and the music will take place, at the beginning, following a subtraction strategy, playing with the singularity shades and the personal idea of emptiness through the movement. Solos and duets will act on the single partitures of the four string, creating a fragmented choreographic and music path in which the silence, the strength of the suspensions, the cracks, the off balances, the seductions will find a third, concrete space, a substantial element of the narration.  

From that primary condition, the path will land in a coral dimension, in which the eight presences will build a complex structure based on their interactions, with an unpredictable flavour imprinted in the settled relations playground.

The fugue, as well as the being between the lines, is here defined as a manipulating act of the space as a boundary that can be crossed and constantly replaced, making visible the prospective line between the vectors and the visions of the body narration.

 

 

  NEXT – NEW ENSEMBLE XENIA TURIN

NEXT – New Ensemble Xenia Turin is the natural landing place of the 20 years path done by one of the most valuable groups in the Italian contemporary repertoire field: the Xenia Ensemble.

The Ensemble worked with the most famous contemporary composers and important executors, as Arvo Pärt, Sofia Gubaidulina, Frangis Ali-Zadeh, Alexander Balanescu, Hilliard Ensemble, Rohan De Saram, Lorna Windsor, Giya Kancheli, James Macmillan, Gerald Barry, Alexander Raskatov.

The quartet took part in some of the most important festivals and institutions in Italy and abroad, as Ravenna Festival, Cité de la Musique di Parigi, Holland Festival di Amsterdam, Art Square Festival in San Peterbourgh, Asiagofestival, Icebreaker Festival in Seattle, Festival Mito Settembre Musica, Fondazione Gulbenkian in Lisbon.

 

SIMONA BERTOZZI

She trained between Italy, France, Spain, Belgium and England and she graduated at Dams in Bologna. As a dancer she worked, among the others, with Tòmas Aragay (Cia Societat Doctor Alonso) and Virgilio Sieni. Since 2005 she carries on an authorial path of research and creation, and in 2008 she founded Nexus|Compagnia Simona Bertozzi, obtaining a lot of awards and reviews in the national and the international scene. In her works the body language deals with the meeting with the practices, thoughts, subjects which make the creative process a many sided system, close to the contemporary time. Among the recent projects: Prometheus project, composed by six choreographic episodes, as And it burns, burns, burns, finalist at the UBU prize 2017 as best dance show; Anatomy created with Francesco Giomi (Tempo Reale Firenze) and Enrico Pitozzi (Bologna University) and Joie de Vivre, coproduced by ERT Emilia Romagna Teatro Fondazione, Fondazione Teatro Comunale di Modena and Nexus. Since 2014 her creations included young  dancers, children and teen agers. The touring of the shows is widely extended in Italy and abroad. Among the others: Romaeuropa, Biennale Danza Venice, Aerowaves London, Dance Week Festival Zagreb, Tanec Praha, Correios em Movimento Rio de Janeiro, Masdanza Spain, Les Brigittines Bruxelles, Intradance Moscow, Fringe Festival Edimbourgh…). In the meantime she takes care of high training programs and she collaborates with researchers and professors of the performing arts field. She directs dance workshops at the music and show department in the Bologna University and at the Rome National Dance Academy.

 

 

 

 

 

 

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