Il Gruppo Danza Oggi
per la NID

”Concentrati su ciò che ti appassiona e trasmettilo
in modo unico.”

Cit.

Federica Galimberti

50 min/mq

The artist who is inside each of us, tight in 50MQ, goes beyond the walls, runs from room to room and draws an invisible imaginary thread that continues to unite many bodies, minds, languages ​​and emotions in which Art has no barriers, neither constraints nor borders and is capable of opening all doors, becoming a bridge to finally get live, on stage.

50 MIN/MQ
KEEPING WARM​

Alessia Gatta

KEEPING WARM

What is the real reason that pushes us to create with body language?

Gatta finds the answer in seemingly simple concepts: touch, breaths, community, closeness, adherence to approaches and the relationships that result from them. The total absence of all this revealed that supporting and inspiring each other is already dance in itself.

Keeping Warm was born from the intimate desire to meet again, to measure ourselves, to merge. It wants to benefit from the greater self-awareness, acquired during months dedicated to reflection, and find new ways of communication that strengthen the ability to relate with the others and with the universe that hosts us. The performance stages the profound desire to take care of the dance and the space inhabited by the dance itself through the warmth of the bodies and the souls dwelling in there, in order to achieve an awakening of static limbs and dormant minds. Thus, the authenticity of the shared perceptions and intuitions between the choreographer and the dancers during the creation has given rise to a healthy and accurate dialogue, which was not only verbal but above all bodily.
The complexity and ambiguity of our present seems to put us in front of icy surfaces, on which it is easy to slip, or mountains of snow, from which one can be swept away. Perhaps, it would be enough to be hard as ice and pure white as snow to face all this.
Immersed in snowy and cold landscapes, three women meet again to support each other, giving their bodies renewed confidence to share an apparently hostile experience.

They continue to live in a reality described by atmospheric conditions such as wind, snow, cold that compromise the physiological functions. They persist and investigate new perspectives and visions, reconnecting with and through their bodies.

Inspired by archetypal models of our Western culture and tradition, symbolic and evocative images come to life, allowing the fluid change of sensory, bodily and emotional quality: the Titan Atlas, holding up the entire celestial vault, the Snow Goddess Chione and the ritual of the carnival disguise which, by subverting the codes, chases away evil spirits to welcome spring rebirth.

Vito Leone Cassano

Humans

“HUMANS” is a show that contaminates a dynamic of
physical and energetic movement with aerial acrobatics.
The company’s research is based on the transformation
of the physical and athletic gesture into an expressive
gesture, also through the use of unconventional tools,
such as transparent plastic material, which become
scenic opportunities for the experimentation of actions
related to dramaturgical thought, creating a union
between physical work and storytelling.

“HUMANS” is inspired by “Metamorphosis of Narcissus”, by Catalan painter Salvador Dalì, the starting point of the show in which time is suspended, the space asepti, the environment intimate and primitive, a sort of limbo where interpersonal relationships have yet to be established and life lived. It is a phase of education for life, in which one passes from solitude to sharing, to knowledge starting from the confrontation with oneself and with one’s Narcissus. In the second part of the show, a voiceover reconnects the performers to a new dimension, a time jump in which the evolution of being leads the protagonists to civilization, to the definition of characters which are outlined with much more clarity through a lighter gesture, sometimes ironic, accompanied by a captivating pop rhythm. In this context, sounds and words become a sound carpet of different volumes, it will be like spying on the neighbours from the window in front, trying to catch some phrases, watching them tell what happens just with their bodies, without the need to fully understand their words. Eleina D. Company has the talent of knowing how to tell the depth of the various aspects of human nature in an ironic, light, lively, free and fresh key, involving the audience in a clear narrative development, merging aerial and contemporary energies in an undeniable spectacularity sustained by a mature artistic sensibility.

humans
Unknown Language

Simona Lisi

Unknown Language

UNKNOWN LANGUAGE is a theatre-song show about the medieval mystique and visionary Hildegard of Bingen, where the experience of vision and numinoso is narrated by contemporary technological means, in transmedia mode. The show has been designed for theatrical and unconventional spaces, uses videomapping and optical motion detection systems.

In the middle ages, before the dark time, a woman was able to speak with emperors, popes, aristocrats and populamen, with the strength of her words imbued with strongly symbolic language. His own language is one of the most powerful suggestions that led to the project. Hildegard was in fact the author of one of the earliest known artificial languages, the “Unknown Language”, which she probably used for mystical purposes.

Religious, naturalist, poet, musician and composer, philosopher, healer, the extended soul of this saint fascinates for the modernity of her figure. An example of pervasive creativity and spirituality that has crossed every aspect of human knowledge, coming to grasp the secret and unknown language of creation. Precisely a synesthesia of sounds, gestures and visions is entrusted with the work that presents itself as a solo of theater-dance and live music, which in the infinite plots of connection between the different languages creates an “unknown language” and mysterious, creating a bridge between the Middle Ages and the new evo.

• Ideazione, scrittura scenica e interpretazione Simona Lisi
• Drammaturgia sonora Paolo F. Bragaglia
• Live visual e luci Pietro Cardarelli
• Costumi Stefania Cempini
• Testi e visioni liberamente tratti dagli scritti di Hildegard Von Bingen

Karen Fantasia e Alessandro Pustizzi, con il contributo di Diana Florindi

EMPTY SPACE​

The “empty space” is the theater box that hosts the show. The bodies of the dancers explore it. the show represents the idea of filling the three-dimensionality using the concept of “Rough Theatre” by Peter Brook: the popular theater, made of flavor, noise and smell.

The discovery of space is the very act of taking possession: curiosity, instinct, imagination, fear, closeness, distance and darkness, move the choice of use. It goes from the inability and the fear to manage it, to freedom, confidence and pleasure of sharing.

The lights cover-up this space, giving it different shapes, new sudden limits and sometimes even different textures.

In the end, however, human feelings draw the limits and choose how to live this space.

The show questions the way of being inside a space, guided by the primordial and animal instinct, first the action then the thought.

Spazio Vuoto wants to give the means to look first and then reflect, placing the viewer not in front of a journey or a narrative, but a series of actions that will provoke reactions.

Empty Space

Sezione Open studio

EQUILIBRIUM
01

Ilenja Rossi

EQUILIBRIUM

Danced from the Unity Dance Art group, EQILIBRIUM is a project carried out  by a youth company created  in Rome  within  the framework  of  the professional training academy for Urban dancers UDA Urban Dance Academy.

 

Eclectic and versatile, they bring what is usually known as Street Dance to the theatre,  enriching this body language with contemporary nuances and a precise essence of drama.

Nicoletta Cabassi e Simona Lisi

HASH_TAG​

“Hash_Tag” analyzes and explores the relationship between the communication systems of social networks and the personal freedom to interact with them using body language. The project consists of two different sessions related to the same theme: 1) the “call for interaction”, the virtual (interactive) and research phase of the project; 2) creation in the theatre.

Both phases are based on exploring the creative possibilities that virtual and viral communication offers in relation to and reaction to our individualities. For NID we present, in a hybrid form (between talk and performance), the work process that will lead to theatrical creation. Hash_Tag was born in 2014 in Naples thanks to the support of ArtGarage and the SUDLAB art gallery in a pioneering way, through Twitter and Twitcam (now replaced by Periscope). The urgency was to narrate the body by challenging us in the narrowness of Twitter characters (140 characters). The project has meanwhile grown and crosses different contexts, both related to places and web platforms, configuring different scenarios under which to bring to light the same theme: the adaptation necessary for survival not only as artists but as human beings. What is lost in adapting to the new forms of communication, how can we bring into the network the paradox, the different, the un conformed? The theatrical creation will enclose the work done in a choreographic and visual dramaturgy of strong impact.   

HASH_TAG​