Bermudas_forever

by mk
with Biagio Caravano, Francesco Saverio Cavaliere, Sebastiano Geronimo, Luciano Ariel Lanza, Flora Orciani, Francesca Ugolini
concept and choreography Michele Di Stefano
audio edit Bunny Dakota
light Giulia Broggi
custom styling Marco Mazzoni, Michele Di Stefano
management Carlotta Garlanda
distribution Jean Francois Mathieu
production mk 2019
in collaboration with Santarcangelo festival
supported by MIC
UBU 2019 Prize as best dance performance

Bermudas is a coproduction by mk/KLM 2019 and Bolzano Danza/Tanz Bozen
in collaboration with AMAT Civitanova Casa della Danza, Residance/Dance Haus Milan, Dialoghi – residenze delle arti performative a Villa Manin Udine, Una diversa geografia/Villa Pravernara Valenza, AngeloMai Rome, l’Arboreto di Mondaino, supported by Regione Lazio and MIC

Bermudas is a choreographic system, for a variable and interchangeable number of performers (from five to thirteen). It supports the idea of perpetual motion ruled by an organic order, with the aim to create the relentless quality of a dynamic continuum in space and time, and simultaneously to make visible the workings of the single performers to feed and alter the general structure.
The research is inspired by the theories of chaos and by the generation of complex assemblies from simple conditions, finally by the evolutionary systems of physics and meteorology; but it is primarily a way to bring out a detailed perspective on the body posture in dance – that is, in the dynamic of movement related with the others – and, as such, it is an eminently choreographic research.
This system of movement speaks of closeness and cohabitation between the bodies, who share the same space but have slightly different possibilities to relate to one another. The continuous search for an agreement produces relational tension and shifts the focus on the outside of the body.
The energy field is out in the surrounding and is a turbulent one (as the title of the piece ironically suggests).
Each performer has a good margin for calculating and determining which action suits best the development of the system; this means that dance is treated as a tool for real-time knowledge of what is next to us and that the effort towards adaptation becomes the primary means of communication.
We should expect that the hypnosis and the climax generated by the rhythmical definition of a habitat could build an interesting field of choreographic possibilities.
The piece is adaptable to different spaces: it can be staged or set for environments inhabited by the audience, at very close range.
In Bermudas_forever we set two complementary spaces: in the first one, the people willing to participate are briefly instructed on the gestures necessary to dialogue with the performers right away; in the second space the choreographic mechanism of the show, thus nourished by the participation of anybody, is staged. The space is open, no dress code and no curriculum are required.