1st September / 9.00 pm / Maddalena Theater
Tickets € 10 full / € 8 reduced
Pre-sale starts: 25th August
Choreography: Ilaria Barzetti ( Italy )
dance Marialaura Leoni ( Italy )
music The Haxan Cloak
The deep is depth, in its various meanings and interpretations. A descent into the interior, from the very first notes, rapid and whirling, an exploration that wants to bare us in front of our ... fears perhaps? aspects of discomfort, fragility? or maybe routine ...
A whirling climax, sometimes with noir features, interspersed with images and moments of stasis, evoking figures of a physical reality that seems to be only a vague memory at the moment.
Reality is represented by the body, strong and at the same time supple and disjointed, mobile towards itself and in itself, sometimes pushed to the limit to arouse discomfort and discomfort in the viewer; however, whatever the approach of whoever is watching, the descent into the abyss, collective and individual, in this depth of mind and body is mandatory.
dance Maria Brigidi ( Italy )
The concept of remembrance is typical of literature: 'a remembering associated, in poetic use, with the ability to resurrect in the conscience images and above all remote feelings'.
It is a profound memory that struggles to be recalled, either because it is painful, or because it is deeply buried in us.
It is an ancestral memory, powerful and almost mystical, but at the same time physical, because our body bears its traces and is moved by it, more or less consciously.
Dante speaks to us of the 'puncture of remembrance' precisely because it is not something abstract: remembering is something that takes us deeply and moves us, forward or backward, the choice is up to us, but there is no possibility of stasis, this sort of Purgatory can only be temporary and lead us in one direction or the other opposite.
In this work, the memory moves us forward: the strong initial energy that seems to explode at a certain point, is finally channeled, naturally subsiding. There is a peaceful and soothing resolution.
As if in the end he had chosen to remember, accept and understand the importance of that wound.
To then move on.
... and the voice
Aurora Profili dance ( Italy )
music Laurie Anderson
An experimentation focused on the connection between movement and voice; at times, a sort of danced sign language, testifying how the gesture itself is already a dance and how it is full of meanings and implications ... so much so that the word comes after, almost as if there was no immediate need .
The continuous (and at times pounding) repetition of the syllable "ah" filtered through a wide use of the vocoder, initially seems to convey an objective difficulty of expression, in an almost apnoic state.
This apparent discomfort is immediately overcome in the viewer, as soon as we find ourselves in tune with the gestural communication, inherently innate and natural in each of us, but simply relegated to the background by the immediacy of the word.
The work therefore focuses on the depth of communication, on the echoes of the meanings of the body and in the body, where if anything it is the gestures that move the words and not the other way around.
And in the end, in fact, it is the body, the gesture, that moves the word.
At times ironic, almost light and carefree, he really wants to bring us back to the essence of communication, to its spontaneity.
In the end 'This in the hand, the hand that takes' almost seems to throw a bridge towards an eventual other person (perhaps of another language?), With whom we would not be able to speak and our words would sound like empty ones' ah 'initials ... but we can still choose to communicate.
in colaboration with Atelier Danza Hangart
She is a contemporary and neo-classical dancer in various Italian festivals (Hangartfest, Fuorifestival Civitanova and others), she has been assistant choreographer, maître de ballet and stage manager in the last two editions of the international festival of contemporary dance 'Interdans' (Belgium).
He deepens the study and the languages of contemporary technique by taking part in various workshops and training courses (Ultima Vez, Codarts, Gaga). As a choreographer she won several awards including 'Unite with dance, United for life' (2020); Ballet Beyond Borders, USA - Montana (2019); Rieti International Dance Award (2019); 'DanzAFirenze' (2019).
In 2019 he participates in the show 'Read to dance', artistic direction of Arturo Cannistrà, (Aterballetto Foundation) and collaborates with the Rossini Symphony Orchestra of Pesaro in the 2016-2017-2018 dance productions.
DRAWING OF A GROUP OF RELATED FIGURES
Mualem / de Filippis Dance Projects
Choreography and concept: Michal Mualem (Israel) / Giannalberto De Filippis (Italy)
Dancing: Candice Baroux (France), Luca Parolin (Italy), Camilla Crescentini (Italy), Rosa Dicuonzo (Italy), Camilla Grandolfo (Italy), Valeria Alvarado (Colombia)
The CO-LAB project in its various phases was created in residences in:
Fienile Fluò - Bologna, in collaboration with the Crexida / AnimaFluò cultural association
Teatro Limonaia, Florence, with the support of Company Blu
Maddalena Theater, Hangartfest
Hosted at Terra del corpo, Selene Centro Studi project - Ekodanza
Supported by: KIRE, Pianoro, Muvet / Spazio Danza, Bologna
Duration: 50 minutes
To create, we must involve ourselves, as an individual, as a group, choosing how and what part of us, when and how much we choose to show, to share. Sharing has become even more necessary in this particular period that reminds us of the importance of communicating, relating, approaching.
We have worked with many keywords, on what we are and what we are not, on what we would like to be and what we want / do not want for ourselves and for those around us. We worked within limiting frames, to then find the freedom to express, to transform a material that puts us in a different and new condition, through fantasy or by redesigning our own reality.
There will be two different creations based on the same ideas, a common beginning leading through a different path and different spaces to a different end point.
CO-LAB is a project conceived and dedicated both to talented dancers who have just come out of European training academies who are about to take their decisive step into the professional world and to even more mature and expert dancers who want to have a choreographic creation experience in a highly professional and international approach.
The dancers, selected after auditions, took part in an initial research period. Later, about half of the initial group was chosen to face a real creation, in different artistic residences, through public restitutions in view of the debut at HANGARTFEST.
CO-LAB is in its first edition and intends to take root as a constant opportunity over the years to help many talented dancers to approach the professional world. The title of the show brought to HANGARTFEST: Con-figure-azioni - Drawing of a group of related figures.
MICHAL MUALEM (Israel)
Her training as an artist, dancer and teacher ranges from classical to contemporary, from choreographic composition, improvisation and Contact to the Feldenkrais method. Until the age of 15 she practices artistic gymnastics at national level.
From 1994 to 2001 she worked as a dancer in Israel in companies such as Liat Dror and Nir Ben Gal Dance Company and Noa Dar Dance Group as well as collaborating with choreographers such as Inbal Pinto, Niv Sheinfeld and Anne Mary Porass. During this period she also presented her first work, Brown Sugar , as a choreographer at the Suzanne Dellal Center in Tel Aviv. Since 2001 he has been a permanent member in Berlin with the company of Sasha Waltz, dancing in productions such as Korper, Nobody, Insideout, Impromptus, Dido and Aeneas, Dialoge 09 for the opening of the Neues Museum in Berlin and Maxxi for the inauguration of the Museum of 'Modern Art in Rome.
In 2012 he was assistant choreography for the resumption of Sasha Waltz's creation Nobody at the Göteborg Ballet.
In 2013 she took part in Sasha Waltz's new creation, Sacre .
In these years he collaborates again with the choreographer Noa Dar in Arnica and with Roberto Zappalà for only Instrumet 2, the suffering of the body.
In 2014 he dances again with Sasha Waltz in Orfeo and in 2015 he continues his collaboration with Sasha Waltz in Romeo and Juliette . Since 2005 she has deepened her commitment to teaching contemporary dance in its various forms, combining and reworking them in a completely personal sense, between release technique, dance theater, contact and improvisation.
In recent years he has been teaching in international centers such as Suzanne Dellal Center (Tel Aviv) and the Jerusalem Academy (Jerusalem), Scenario Pubblico (Catania), IALS (Rome), SEAD (Salzburg), Burkley University (California), to name a few.
At the same time he began his choreographic path, creating from 2005 to today, numerous choreographies in independent projects, commissioned by professional academies such as Modem in Catania and SEAD in Salzburg, companies based on "Guests Choreographers" and last but not least, projects supported by Festivals such as Curtain Up of Tel Aviv.
His works are represented in international festivals such as Aerowaves, Tanec Praha, OperaEstate, Festival de la Citè and others.
GIANNALBERTO DE FILIPPIS (Italy)
He practices Chinese martial arts for 14 years, it is his first experience of studying the body and movement and it represents a fundamental root in his way of thinking about dance.
In 1998 he worked in Giulia Gussago's company "Lyria" in Brescia.
In 1999 he graduated from the London Contemporary Dance School and subsequently studied techniques such as release, Limon, Contact and Improvisation with masters such as Poul Douglas, Sasha Rubicek, Kerry Nicholls, Sue McLannan, Adam Benjamin, Fin Walker, Gill Clarke, Siobhan Davies, Jeremy Nelson and other.
As a dancer between 2000 and 2002 he worked in Switzerland in Philipp Egli's "Molteni" Company, in Germany with Iztok Kovac (En-Knap), Martina Labontè, Mikel Aristegui, in 2003 with Sasha Waltz and in 2007 he worked in the Naturalis Labor Company of Luciano Padovani in La Catedràl.
In 2009 she dances in Dialogue 9 - Maxxi again with the choreographer Sasha Waltz.
In 2010 he worked with the Abbondanza Bertoni Company in the A Libera Figura productions and in 2011 he danced again for the same company at the Piccolo Teatro in Milan.
In 2014 she worked in the Compagnia Naturalis Labor in Romeo y Julieta and in 2017 she danced in the Circle for the choreographer Roberta Zerbini.
As a choreographer he began his career in 2001 when he presented his first choreographic work, Drops of Memory . The following year he staged Touching feet under the covers.
Since 2005 he has choreographed various works together with Michal Mualem: the duet In Between, awarded in 2006 at the 20th International Choreographic Competition in Hannover, the trio Here and not and the quartet Silenzio Cucito.
Since 2007 he has created, again together with Michal Mualem, some of the choreographies of the “Modem” specialization course directed by Roberto Zappalà in Catania.
In 2008 he choreographed together with Silvia Bertoncelli Paper-Wall , awarded at the “Danz'è” Choreographic Competition as part of the Oriente Occidente 2008 Festival.
In this same year he choreographed together with Michal Mualem And after all that ... for the Haifa Company "HaDance" in Israel and, in the following year, the duet Broken Alright .
In the same year he also created Mr Moon Mrs Luna for the “Vizo” art school in Haifa.
In 2014 he created two choreographies for SEAD, Salzburg Experimental Academy of Dance, Seexteen Feet in , Two Feet out and Is it okay if I Die like this ?.
In 2016 he worked with Giulia Gussago in the Verziano Project entitled La Causa ed il Caso, in collaboration with La Casa di Recclusion Verziano (Brescia) and created a first studio for the new creation Stones in Motion, a quintet created for non-theatrical scenarios, site specific .
As a teacher since 2002 he teaches Contemporary Dance, Contact and conducts Choreographic Workshops in numerous seminars throughout Europe and Israel, developing his own methodology.
During his career he has taught in academies and international professional centers including SEAD (Salzburg), MODEM (Catania), TANZFABRIK (Berlin), IALS (Rome), to professional and amateur companies. Per Actori proposes a specific work on movement and on the body in intensive stages.
In 2016 he started a collaboration for the training of educators and operators in the social field.