THURSDAY, 10th SEPTEMBER 2015 | 21.00 | 50′
LA PELANDA | TEATRO 2
inspired by La ragazza indicibile. Mito e mistero di Kore di Giorgio Agamben, Monica Ferrando
direction, choreography and sets by Virgilio Sieni
interpretation and collaboration Ramona Caia
music Angelo Badalamenti, Arvo Pärt, Francesco Giomi
lights Giovanni Berti, Virgilio Sieni
production 2012 Torinodanza, Compagnia Virgilio Sieni
collaboration to production Fondazione Teatro della Pergola Firenze, CANGO Cantieri Goldonetta Firenze
la Compagnia è sostenuta da Ministero per i Beni e le Attività Culturali, Regione Toscana, Comune di Firenze – Assessorato alla Cultura e alla Contemporaneità
Kore won the Danza&Danza Award as best Italian production in 2012
KORE is inspired by philosopher Giorgio Agamben’s book “La ragazza indicibile” dedicated to the myth of Persephone.
A manifesto on femininity, but also an impulse to surpass all that is merely human and catch a glimpse of the uninterrupted journey of humankind. Between daughter and mother, between human and animal, there appears a third figure that brings into question everything we think we know about femininity, and about man and woman in general.
Nine African women appear, not only as a testimonial of an exodus, but to evoke the magnificent crumbling of the gesture in the way one carries oneself, and how the oppositions that coexist in every human being represent an opportunity in the great game of life. Kore constantly turns back to look to the past, which nourishes her metrically: little girl, mother, woman, animal, doll, walking, virgin. It truly is a mystery how even today, one can fall under the spell of dance and be initiated into time. Time flows by in the girl’s dance, dancing away droplets onto the ground. She begins again, with every new morning, restoring good humor.
Virgilio Sieni‘s choreographic art, his works, his performances and his staging are already recognized as one of the most important theatrical experiments developed in the last few decades. The quality of his work lies above all in the fact that he confronts dance as contemporary visual expression, dismantling that constricted and nostalgic vocabulary of steps and figures that is the academic repertory, and with it those traditional, decadent ideas still fond of romantic atmospheres, their scenes, their spectacular flights and their sentiments. In this sense, his effort has been to step back from a form of dance and performance still subjugated to the laws of representation and acting and, in the wake of everything that has occurred and is occurring in contemporary art and theater, to render Italian choreography and its staging adult and international.
Sieni places the score and the combination, fixes the poses, in spatial scenes that have the same nature as installations or contemporary sculpture. A Sieni performance raises choreography to the level of true theater art; that is, it transforms the show into a rite and a celebration, loosing the language of the dancer in an expressive dimension that is not only the dramatic one of the scene but also the figurative and therefore iconic one of visual art.
The search for a personal language is not an end unto itself, it is not a mere stylistic exercise, but rather aims towards a process of transformation of material, technique and content into a form reduced to the essential but copious with regard to vocabulary and meaning. In Sieni’s work, it is evident how movement and the body are used in the search for a language made up of thousands of words and phrases, grammars, sings, images: a form in continuous expansion composed of figures and conjunctions that never conclude to end up in a repertory.