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 probably the most thought of vivid skills of the nationwide scene and of the choreographic universe come collectively to offer 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 identical time, nonetheless, additionally refers to an Italian well-known tune by music group 883, launched within the Nineties. As at all times 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 probably the most well-known pop and rock songs of the previous a long time that comply with 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 youngster’s recreation wherein to not get caught, in any other case you return to the start. Within the background you possibly can hear how the music comes out of a disturbed sound of an audiocassette (sound combine by LSKA), combined with voices from the road, chatter, movie dialogues. The whole lot is articulated like an ideal underground zapping, hysterical, fluctuating, however is the emergence of our reminiscences so totally different from the swamp of reminiscence wherein they’re immersed? This fragmentariness, which on the one hand defies comprehension as a result of deliberate alternative of ‘not being’, actually, a novel or a tune however a choreography with stretches of textual content, is thus the protecting veil wherein the comedian and the tragic happen in the identical house, typically combined collectively.
D’Agostin himself, an artist who has quickly turn out to be strong and mature as already famous in First Love, declares how this work is an “try and rescue as many photographs as potential from oblivion”; This intention tries to emerge within the choreographic distinction with which Marta Ciappina, a dancer of absolute stage, betrays her unexceptionable technical virtuosity with an ironic composition, markedly clumsy, that’s, with the angle 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 wherein the photographs 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.