[UNTITLED_I will be there when you die]

[by Alessandro Sciarroni][with Lorenzo Crivellari, Edoardo Demontis, Victor Garmendia Torija, Pietro Selva Bonino][original music, casting, training Pablo Esbert Lilienfeld][dramaturgical consultant Peggy Olislaegers, Antonio Rinaldi][observation of the creative processes Matteo Ramponi][project curator, promotion Lisa Gilardino][director of production Marta Morico][organization Luana Milani][casting organization Benedetta][press office Beatrice Giongo]

[production Teatro Stabile delle Marche - Corpoceleste_C.C.00#][coproduction Comune di Bassano del Grappa / Centro per la Scena Contemporanea - Biennale de la danse / Maison de la Danse de Lyon - AMAT - Mercat de les Flors/Graner, Barcelona - Dance Ireland, Dublin][realized within the European project Modul Dance and promoted by the European Dancehouse Network with the support of the Culture Programme 2007-13 of the European Union][with the support of Centrale Fies, Santarcangelo dei Teatri •12 •13 •14 Festival Internazionale del Teatro in Piazza]

[UNTITLED_I will be there when you die, is a performative and choreographic meditation on the passing of time. It is a reflection on the art of manipulating objects with dexterity: juggling. This work is the second chapter of a larger research project entitled Will you still love me tomorrow?, the research that the artist/performer is engaged in exploring the concepts of struggle, steadiness and resistance. Folk-s was a performance dealing with traditional popular dances typical of the Bavarian and Tyrolean regions. Alessandro Sciarroni asked a group of contemporary dancers to study the complicated steps of the “shoe batters” (from the name of the dance: Schuhplattler) and to perform them obsessively as if they were a metaphor for the struggles of tradition inside contemporaneity. In this new work, the Toss-Juggling evokes the fragility of the human existence. The stunt of the juggler is made of different types of tricks. The patterns that can be created are almost endless, owing to the combination between the physical variations (throws from under the leg, under the arm, above the head, etc.) and the chosen pattern. ‘Passing’ is a mode of juggling with others.  It’s the most important activity during the meeting with other jugglers.The idea is to strip this circus art of the stereotypes that are usually associated to it and to explore it as a language, in its relation to different cultural contexts and to the international landscape. Practice, rule, discipline, commitment, concentration, are the basic elements of this work, forcing the interpreters to stay in the present time, without the possibility of going back, again and again and again.]

[FOLK-S will you still love me tomorrow?]

[invention dramaturgy Alessandro Sciarroni][folk dancers Marco D'Agostin, Pablo Esbert Lilienfeld, Francesca Foscarini, Matteo Ramponi, Alessandro Sciarroni, Francesco Vecchi][original music, sound Pablo Esbert Lilienfeld][video and images Matteo Maffesanti][lightingdesign Rocco Giansante][costumes Ettore Lombardi][faith coaching Rosemary Butcher][tecnical care Cosimo Marggini][casting/dramaturgical consultant Antonio Rinaldi][choreographic consultant Tearna Schuichplattla][production director Marta Morico][organization Benedetta Morico][press office Beatrice Giongo][administration Luana Milani][project curator, promotion Lisa Gilardino]

[a production Teatro Stabile delle Marche - Progetto Archeo.S - System of Archeological Sites of the Adriatic Seas][in collaboration withCorpoceleste_C.C.00# and with Inteatro, Amat-Civitanova Danza per “Civitanova Casa della Danza”, Centrale Fies, ChoreoRoam Europe: Centro per la Scena Contemporanea - Comune di Bassano del Grappa, The Place/London, Dansateliers/Rotterdam, Dance Week Festival/Zagreb and Certamen Coreográfico de Madrid]

[Folk-s is a performative and choreographic practice focusing on time. The work came to life while thinking about ancient folk dances as popular phenomena that have survived contemporaneity. The Schuhplattler is a typical Bavarian and Tyrolean dance. The meaning is “shoe batter” because it literally consists in hitting one’s shoes and legs with one’s hands. In Folk-s, this dance is conceived and executed to point to a pre-existent and primitive form of thought. Dance as a rule, a dictatorship, flux of images that follow the rhythm and the form, not the content. The form is rhythm, energy that is perceived through our ears, not the eyes, “eyeless”. Thus, for the performers of Folk-s, there’s no other time than the present, a time that is not-past and not-future. It’s the infinite insistence of the tide against the sand, the endless return of the same wave to the same shore. It’s sound. In the repetition, geographically and culturally decontextualized, the folk material finds its clearest revelation. In this loop of percussive actions, the introduction of anomalies and variations seems to refer directly to the iconography of religious rites, to a complex system of signs evoking festivals and martyrdom, in the presence of a new, elegant and cruel Exterminating Angel. This way, the folk and the popular, abstracted from their original sonic matrix, seem to wrestle each other until they fuse with the contemporary condition, perpetually fighting for their survival.]



[invention, performance Alessandro Sciarroni][drama and study of process Antonio Rinaldi][image of the project Roberto Foddai][production director Marta Morico][organization Benedetta Morico][press office Beatrice Giongo][administration Luana Milani][project curator, promotion Lisa Gilardino]

[production Teatro Stabile delle Marche in collaboration with Corpoceleste_C.C.00#][coproduction  Officina Concordia, Comune di San Benedetto del Tronto (AP)][with the support of Centro per la Scena Contemporanea - Comune di Bassano del Grappa, Amat - Matilde: piattaforma regionale per la nuova scena marchigiana and Centrale Fies] 

[In Joseph there’s a man on the stage, alone, with his back to the audience for the entire length of the performance, seeking his own image in everything his eyes touch. "But his loneliness conceals the mystical encounter with the being, and generates through its dynamic and symbolic appearance, a communion of energy between the souls that are discretely attending, witnessing the encounter with one’s self and the wonderful epiphany of the otherness. The interactive relationship with the emotional upheavals is reflected in the search for the you, in the randomness of the ether, almost impressed in the cosmos." (Martina Oddi, Joseph in and out of infinity).The creator of the performance, takes his name from the one who accepts to become father to the man who hides in himself the Divine: we cannot know who Joseph is, or where he is. We do not know whether he is the man on the stage or the one who’s unfamiliar eyes, by chance, happen to be part of the system of representation. The solo stops being an event performed by one and becomes full of astonished eyes, distorted, doubled and amplified. Of bodies exposed and ready to be exhibited, out there, somewhere, on the other side of the world, but at the same time. Fiat lux: like the top hat of the magician, granted the authority to generate white rabbits.]

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This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.