DANCE IN REVERSE
Directed by Gaddo Bagnoli
Performed by Claudia Franceschetti
Original music by Sebastiano Bon e Francesco Canavese
Costume by Ilaria Parente
Scene by Andrea Cavarra
Photo by Margherita Busacca
Video by Lisa Cerri
Graphic by Studio Grafico Image
Produced by Scimmie Nude (2014)
The play opened on 9 April 2014 at Teatro della Contraddizione in Milan,
as part of the European Experimental Season 2013/2014.
Mentioned by SaltinAria.it, theatre critics national web site,
as one of the best shows in 2014 and Claudia Franceschetti mentioned as on the best actresses.
In 2015, October, invited to High Fest International Performing Arts Festival in Yerevan, Armenia.
A monologue interpreted by Claudia Franceschetti and directed by Gaddo Bagnoli
on the relationship between body and mind: inspired by Antonin Artaud.
DANZA ALLA ROVESCIA is inspired by the work of Antonin Artaud and is a homage to his poetics; it is a journey along the cryptic pathways in the fragile and cruel soul of this mysterious and marvellous author.
A non-place, where only an old iron bed with a sprung base, a bucket and a small stool represent the whole exterior and interior world of a single woman desperately seeking a sense for existing.
The actress moves in the dreamy and hallucinatory space of Artaud’s poetic world, a place perhaps reminiscent of the Rodez clinic where Artaud was interned, but also the room of Van Gogh, Rimbaud and Verlaine’s hotel rooms, or any other place where lonely souls fight the spectres of their existence and only live the present, enveloped in the mists of their perceptions.
It is an investigation into the relationship of knowledge of ourselves and the world around us, in an ongoing comparison between life and the thought of life.
In this labyrinth, relationships, object and subject, shape and meaning, body and soul, are called into question and along with the body the language of “logical sense” also comes to pieces, in favour of communication based on physical and emotional perceptions. The words are not eliminated, but the poetry of “logical discourse” is replaced with the poetry of space, body and sound, so that the words go past their grammatical sense to acquire a value that vibrates, becomes physical, material, beyond the sense we usually give them.
A poem of “space” that lightly and powerfully vibrates in the hearts of the spectators without the need for sense, suspending them between gesture and thought.
Indeed the spectators are catapulted into this world through a process of continual sublimation: physical transformations, extreme and swift emotional variations, raw sensorial reactions and delicate and dreaming abandonments oblige the actress’s improvisations to take shape in a scenographic score with a precise and at the same time chaotic architecture: gestures, words, sounds, actions, music and dance mix to form a single, red-hot theatrical plasma.
The play has the task of taking us, not where, once again, we have to understand, but where we can perceive the invisible, sense what lies beyond all experiences already had or thought, beyond memories and prejudice, elsewhere from ourselves.
“Antonin Artaud,” states Gaddo Bagnoli, artistic director of the Scimmie Nude company, “has always been the main inspiration for the company’s poetics, technique and drama. And in particular his work on Cruelty. Cruelty, not in the physical and rapacious meaning usually given to it, but as something extreme, totalising, for good or for bad. In terms of the mind, cruelty means irreversible, absolute rigour and determination.”
“Danza alla Rovescia therefore comes about after years of studies on Artaud and the intention was to approach this great poet of the body, in particular concentrating on analysing body and mind [ésprit], inside and outside. Indeed for Artaud dancing in reverse means reinventing the body to rediscover a new life.”
“In Danza alla Rovescia, like in all of Scimmie Nude’s performances, Theatre combines with Dance. Our theatre is physical, the vocal and physical score arises from improvisation studies that I proposed, and that the actress’s creativity physically translated into the space.”
“Artaud wrote with hate against everything that lies outside the original purity of the individual (family, religions, institutions, society, even the so-called natural laws), and he did so because, like all men, he felt hounded by the drama of everyday, where we accept to live how we live without the possibility of redemption, without the possibility of the absolute. His theatre may appear difficult and intellectual, but it is a theatre made of flesh, blood, muscles, secretions, monstrous and sublime visions. His heroic furies were our guide in this enlightening journey.”
“[The spectator] will go to the theater the way he goes to the surgeon or the dentist. In the same state of mind—knowing, of course, that he will not die, but that it is a serious thing, and that he will not come out of it unscathed”.
EXTRACTS FROM PRESS REVIEW
“More than a play, Danza alla Rovescia is an experience that involves the senses; it involves them and twists them in a macabre and vital, tragic and ironic body-to-body between the stage and the audience.”
(Francesco Mattana, SaltinAria.it)
“The word takes the physical form of the body and the body becomes as ethereal as the word. And then these two languages reverse and blend to create a new one.”
(Azzurra Scattarella, temperamente.it)
“An interactive shock between protagonist and public.”
(Claudio Elli, puntoelineamagazine.it)
Teatro della Contraddizione, 2014, April, 9 to 24th, Milan
It Festival, 2014, May, 3-4th, Milan
Festival Expolis, 2014, May 6th, Milan
Aità, 2015, February 21-22, Brescia
Magnifico Teatro, 2015, May 16-17th, Benevento
High Fest International Performing Arts Festival, 2015, October 2nd, Yerevan (Armenia)
Spazio Scimmie Nude, 2016, February 14th, Milan
Rassegna Mat, Teatro Foce, 2016, May 2nd, Lugano (Switzerland)