L’IIC di Oslo lancia la prima edizione del programma di residenze e scambio bilaterale per ballerini e coreografi italiani e norvegesi. L’iniziativa rappresenta uno strumento di promozione della danza contemporanea italiana, nonché un efficace canale di dialogo artistico tra i due Paesi, nella cornice di una progettualità di medio lungo termine.
Il primo progetto vede protagonista la Compagnia italiana Parini Secondo di Sissj Bassani e Martina Piazzi che saranno ospitate da BIT Teatergarasjen di Bergen. Il gruppo svolgerà una residenza di 13 giorni a Fjaler al termine della quale presenterà lo spettacolo di fine residenza “HIT” nella nuova casa di cultura di Fjaler, Samvirket. Lo spettacolo avrà luogo martedì 2 aprile alle ore 18.00.
Il programma è realizzato in collaborazione con il MIC Direzione Generale Spettacolo, NID platform, PAHN Performing Arts Hub Norway e la Reale Ambasciata di Norvegia in Italia. Le residenze si articoleranno in Italia e in Norvegia nel corso del 2024.
Si può vedere un teaser dello spettacolo qui
PROJECT PRESENTATION:
Parini Secondo chooses rope skipping as an athletic practice and rhythmic element to create his new production – HIT.
In this instrument, Parini identifies the powerful union between the athlete and the child, two heroic figures who, together with the poet, share a close relationship with death (Jesi, 1958). The jump, at once limp and flight, is the stylised dance that leads out of the labyrinth, interpreted here as a negation of the systemic condition that would have us lying motionless on the ground with our eyes closed. One can come out of the impasse like drums: by creating a physical void in which the skin resonates with each blow, becomes an echo of the words heard, becomes stone that sings.
In a composition elaborated together with musician and researcher Alberto Ricca/Bienoise, the illusory repetitiveness of the rotating flow of the rope becomes an inexorable spiral that parabolises time from the real to the ritual. What comes before, the exercise, is already everything that comes after, is the dance. In this sports-ritual binomial, a path of sublimation of athletic practice develops in which occluding repetition is transformed into an evolutionary portal. The passage from the exercise sphere to the performance sphere takes place discreetly and by juxtaposition, veiling the initiatory path that connects them, which is inspired by the game of hopscotch in its French version – the escargot, a numbered spiral grid to be completed in an outward and return movement by jumping on one foot.
It is in the nature of what is sacred to be able to be heard, but to want to be seen in a veiled way or not to want to be seen at all (Schneider, 2005).
