THE WILDERNESS – none of it’s real
Duration 47 minutes
Choreography Fabrizio Favale
Set First Rose
Dancers Martin Angiuli, Daniele Bianco, Vincenzo Cappuccio, Martina Danieli, Francesco Leone, Mirko Paparusso
Music Alex Somers, Sigur Rós, M83
Co-produced by Festival MilanOltre, KLm – Kinkaleri / Le Supplici / mk
Production supports MIBAC / Regione Emilia-Romagna
Supported by h(abita)t – Rete di Spazi per la Danza / Sementerie Artistiche, Crevalcore / Teatro Consorziale di Budrio
3 Third Eye
4 Ibis Tanz
6 Ice Fall
7 The Wilderness
9 The Turing Machine
10 A simple canon
11 Away From Everything
12 Another language
This work wants to be a tribute to the magic and enchantment of the Serpentine Dance by Loïe Fuller (1862-1928), the absolute pioneer of that visual modality that only later we would have defined psychedelic, optical.
THE WILDERNESS is a fast and light sequence of 13 dances in an artificial and vaguely psychedelic environment. The impression is that these dances come from far away, from an exotic worlds. And in fact they are. All the dances of The Wilderness were created in distant and sometimes hostile environments, in the forests, in the snow, in the rain, near the animals … And now we see them in the theater, as after the landing of a freighter from the Indies carrying rarities and fantastic animals.
In THE WILDERNESS the dances take place in an empty and cloudy space, made iridescent by unnatural gleams produced by special light effects, and in their return they seem to hint at the repetition of natural or cosmic cycles. In their tireless variations these dances describe a world that does not exist, yet they now seem to refer to strange black embroideries of the flight of a swallow; now to geometric designs, synchronicities and canons as in a blossoming of fractals. However, a wild mood is perceived at times, as something uncontrolled that advances and flourishes within an ordered thing. It is the wilderness, the wild land.
“The question of landscape is perhaps also the question of uncertainty. The landscape, whether real or imaginary, always involves two questions: one is geometric, so to speak, where we have to deal with distances, perspectives, what we can perceive or go across. The other has to do with the soul, in a silent dialogue between images that takes place somewhere and we don’t know where. So it is not uncommon to see Iceland where there is only a slope towards the stream or to see an impromptu gathering of Etruscans where peasants discuss in the distance. … Yet while we try to mend the incongruities suggested by a ghostly place, while we try to justify and measure the distances, something flourishes and advances and thickens and makes impractical any place that previously had a semblance of familiarity. The wilderness is called elsewhere: wild land. ” Fabrizio Favale