Punk. Kill me please

concept and creation Francesca Foscarini & Cosimo Lopalco
performing Francesca Foscarini & Beatrice D’Amelio
co-creating Valentina Dal Mas & Melina Sofocleous
lighting design and tecnichal Maria Virzì
voice coaching Debora Petrina
organization and administration Eleonora Cavallo & Federica Giuliano
co-production Associazione Culturale VAN, Festival Danza in Rete-Teatro Comunale Città di Vicenza
with the support of Centrale Fies_art work space, Teatro delle Rane
with the contribution of ResiDance XL –  Network GAnticorpi XL, Arteven/Festival Prospettiva Danza e Teatro, Centro di Residenza della Toscana (Armunia – CapoTrave/Kilowatt), CSC Centro per la Scena Contemporanea Bassano del Grappa, Santarcangelo dei Teatri
duration 60 minutes

A shorter version of the work has been selected by
 Rotterdam International Duet Choreography Competition 2019 and for NID Platform – Open Studios 2019.

Punk. Kill me please emerged from our fascination with Punk Rock, the revolutionary weapons of its aesthetics, and the political questions it shouted, all of which remain open today. At the heart of the story from which the choreographic exploration begins is the legendary and destructive relation between Sid Vicious and Nancy Spungen: Britain’s iconic punk rock couple. The performance feeds on readings, listening, visions of the day, and critical studies, such as those of William Tsitsos, David Bloustien, and Lauren Langman, that bring us to a deeper, wider awareness of the historical phenomenon and the desire to explore the “method”, intended as an aesthetic/ cultural-political perspective in contemporary key.
It investigates that combination of aesthetic-artistic practices and philosophical-political ideas that are typical of Punk Rock: the uninhibited use of the body, rebellion against mainstream aesthetics, the use of essential equipment, the tendency to “Do it Yourself”, and all those aspects, now historicized, that in extreme synthesis seem right to define as the “Punk method”.
The work, in its deliberately fragmentary dramaturgy and constructed piece by piece as in a rock concert, stages – in the transfigured space of an alcove furnished merely with two tartan blankets, a record player and a few strips of adhesive paper that together become essential and self-governing instruments of representation – two female bodies subject to continuous and iconic transformations; self-generating and omnipotent, sensual, funny, electrified, monstrous bodies that, sharing the same protest, anger and passion for life, stand as paladins of rebellion and madness, love and equality, and stage a living manifesto of feminism, courage, irony and freedom.

ph. Elisa Nocentini