Phrases by Giordana Patumi.
Within the intimate Teatrostudio of the Lugano Arte e Culturacenter in Lugano, Switzerland, on Valentine’s, I set myself a date with dance to look at Marco D’Agostin new work Gli Anni.
Gli Annil is a brand new factor for Italian choreographer Marco D’Agostin. Two of essentially the most thought-about vivid skills of the nationwide scene and of the choreographic universe come collectively to provide life to a piece impressed, even in its title, Gli Anni, by one of the essential novels by the French Prize Nobel author Annie Ernaux and on the similar time, nevertheless, additionally refers to an Italian well-known track by music group 883, launched within the Nineteen Nineties. As all the time in D’Agostin’swork, sentimental afflatus, literature and the pop universe come collectively in a private fresco.
The efficiency opens and closes formally as a novel – that novel with which it’s related for its memoir investigation – however inside there are essentially the most well-known pop and rock songs of the previous many years that observe each other to fortify with shared components sure biographical nuclei belonging to the dancer or – at sure factors one has the doubt – to the writer.
The dancer enters the stage with a rucksack on her shoulders. She counts lemons purchased on the market in a loud voice; it’s a baby’s sport by which to not get caught, in any other case you return to the start. Within the background you’ll be able to hear how the music comes out of a disturbed sound of an audiocassette (sound combine by LSKA), blended with voices from the road, chatter, movie dialogues. The whole lot is articulated like an important underground zapping, hysterical, fluctuating, however is the emergence of our reminiscences so totally different from the swamp of reminiscence by which they’re immersed? This fragmentariness, which on the one hand defies comprehension as a result of deliberate selection of ‘not being’, actually, a novel or a track however a choreography with stretches of textual content, is thus the protecting veil by which the comedian and the tragic happen in the identical house, generally blended collectively.
D’Agostin himself, an artist who has quickly grow to be strong and mature as already famous in First Love, declares how this work is an “try and rescue as many photos as doable from oblivion”; This intention tries to emerge within the choreographic distinction with which Marta Ciappina, a dancer of absolute degree, betrays her unexceptionable technical virtuosity with an ironic composition, markedly clumsy, that’s, with the perspective that presides over our relationship with reminiscences, with the tales of our little epic, of our private heroism dematerialised by self-inflicted derision out of embarrassment. The oblivion by which the pictures are positioned is the recondite reminiscence that’s evoked with problem, with the discomfort of unveiling by way of which to confess the stressed discomfort of the true.