Pastorale

concept and choreography Daniele Ninarello
dance Vera Borghini, Zoé Bernabéu, Lorenzo Covello, Francesca Dibiase
music Dan Kinzelman
dramaturg Gaia Clotilde Chernetich
movement coach Elena Giannotti
lights and space Gianni Staropoli
production Codeduomo / Compagnia Daniele Ninarello
coproduction Centre Chorégraphique National de Rillieux-la-Pape /Direction Yuval Pick, project realized within “Sharing&Moving/International Residencies” with the support of MosaicoDanza/ Festival Interplay, Fondazione Piemonte dal Vivo/ Circuito Regionale Multidisciplinare di Spettacolo dal Vivo, Lavanderia a Vapore/ Centro Regionale per la Danza, KLAP Maison pour la danse – Kelemenis & cie di Marsiglia; Armunia/Festival Inequilibrio, Festival Oriente Occidente / CID Centro Internazionale della Danza
with the support of Centro di Residenza della Toscana (Armunia Castiglioncello – CapoTrave/Kilowatt Sansepolcro), Fondazione Teatro Comunale di Vicenza, CID Centro Internazionale della Danza di Rovereto, Teatro Akropolis (Genova), CSC Centro per la Scena Contemporanea
winner the residency project “ACASA” promoted by Centro Nazionale di Produzione della Danza Scenario Pubblico/CZD in collaboraction with Centro Nazionale di Produzione della Danza Scenario Pubblico/CZD
in collaboration with AMAT for Civitanova Casa della Danza
realized with the contribution of ResiDance XL – Network Anticorpi XL

“I thought that if I arrived at the fabric that constituted us, I would be at the same time the one that kept it, fed it, animated it.”
P. Sollers.

The very first suggestion for this new work comes from the vision of Pastoral (Rhythm) by Paul Klee.This choreographic project is an attempt to address the universal theme of reunification, our longing to return to a shared, unison movement we seem to dimly recall. Pastorale is the third work in a cycle of four experiential choreographic rituals, developed from the creation of anatomical practices which unfold in the composition of the spatial and choreographic dimensions of the ritual. Pastorale also draws inspiration from an aphorism of the American composer Moondog: “I’m not going to die in 4/4!”. The interest in working with his music stems from the desire to explore the universe that generated it, characterized by what he called “Snaketime” a slippery rhythm. Another fundamental reference for this work is the text “Numbers” by Philippe Sollers, composed of one hundred chapters numbered in series of four, which narrates our existence on this Earth as a constant pursuit, a constant coming from each other.

In Pastorale, choreography will be the device created to escape from oneself and enter this other world, to unite with the outside world and with the humanity which surrounds us. Human beings take pleasure in synchronizing, dancing together, resonating together. We are all looking for this sense of unison, as nature does. We aim to create a perpetual nearness, a strong alliance between bodies, generating a dance that unfolds in perpetual motion, as if the body/mind existed in a state of contemplation, attentive to all sounds as rhythms to be grasped and ordered. In this way, we can access a system capable of tuning our bodies to a universal rhythm, which transforms. This practice will be a resource to create an emotional space in which to explore the fragility of this bond, and the risks associated with its loss.Through the choreographic composition, the aim is to create a physical mantra which allows each performer to gradually approach and align with the collective.

In this ‘continuous tuning’ between the bodies it is possible to glimpse the birth of collective mind that constantly redistributes bodies and events, a ritual to which we can entrust ourselves, in an attempt to grasp and cling to that intangible empathy and sintony which exists between them, capable of transporting the body through a newly opened luminous passage, an escape route leading to that other world which exists in a pure state of grace.Specifically, the work will be developed through the creation of a system of signs, to be used by the performers as instruments with which to gradually align themselves with one another. The signs emerge as a perceptual description of the surrounding dynamics in which a choreographic matrix constantly produces variations in rhythm and space.Thus the movements of a body generate resonances in those nearby, like a series of expanding concentric waves, which gradually reinforce each other in an attempt to grasp each other, to reach each other so as not to get lost. A reflection, therefore, on the sense of cooperation in the contemporary world, on the need to return to an inclusive process and mutual listening. On the constant care towards this functioning that reveals us inscribed in each other.

ph: Emanuele Padovani