Da ora in poi - world premiere
choreography Jacopo Godani
music Ulrich Müller and Siegfried Rössert - 48 Nord
costumes Eva Coen
lighting Vincent Longuemare
with the dancers of the Compagnia dell’Accademia Nazionale di Danza di Roma - Alessio Attanasio, Matteo Carvone, Anna Fingerhuth, Ekaterine Giorgadze, Jiri Kalfar, Francesco Arduino Leone, Teresa Marcaida, Roberta Pisu, Ilenia Romano, Noemi Valente, Antonia Zagel
produced by Fondazione dell’Accademia Nazionale di Danza, La Biennale di Venezia
with the contribution of the Ministero dei Beni e delle Attività Culturali and in collaboration with AMAT and Civitanova Danza
July of 2008 saw the launch of the project by the Accademia Nazionale di Danza di Roma, directed by Margherita Parrilla, which aims to become an international dance company. Eleven members constitute the new group, set up under the artistic supervision of Pina Bausch. The inaugural show after a year of intense work has its debut in Venice for the Biennale. Significantly, it is called Incipit and aims to be the manifesto of the dancers’ versatility and of the varied choreographic thinking that will create the group’s history. The evening will comprise a choreographic triptych represented by artists of very different personality: Pina Bausch opens with her personal homage to the idea, giving the company and Cristiana Morganti, a dancer of the Wuppertal Tanztheater, the task of elaborating a solo drawn from one of her latest masterpieces, Nefes (2003); this is followed by With astonishment I note the dog (revisited), by Robyn Orlin, one of the most controversial and provocative artists, who has redrawn the borders of choreography and the performing arts of South Africa revealing and stigmatising the contradictory reality of her country through her work, and becoming well-known around the world; and finally, an original creation by the Italian Jacopo Godani, a solo dancer at the Ballet Frankfurt of Forsythe and choreographer for leading European companies, from the Rotterdamse Dansgroep to the Royal Ballet Covent Garden in London, and from the Nederlands Dans Theater 2 to Compañía Nacional de Danza of Madrid.
The work Pina Bausch created in 2003 is called Nefes, which in Turkish means “breath”. It is based on the impressions the Tanztheater company gained during an intense three-week visit to the splendid city of Istanbul. The solo by Cristiana Morganti, therefore, is also based on the atmospheres, images and experiences lived in this unique and mysterious city.
Cristiana Morganti states: “I have sought to respond to Pina’s requests by capturing the spirit, the cheerfulness and strong desire to communicate of the people I met in Istanbul, a spirit very similar to what one notes in central and southern Italy. The joy of living, good food, the pleasure of seduction as a game to pass the time, and that healthy laziness of southern countries are all elements I have sought to communicate in my choice of movements. I recall having created many sequences containing pirouettes; this happened without my noticing it. It was Pina who, looking at my material, pointed this out to me and suggested we choose the pirouette as a theme to be developed, as a recurrent motif of my solo”.
The result is a sunny, brilliant, fast solo full of detail, in which the dancer with irony allows the public to participate in her joy of dance.
“Historically, the dog has had many connotations… from the faithful representations of their most realistic characteristics to highly stylised forms in decoration and ornament that are almost unrecognisable but still significant… the symbolism changes from one century to the next and from one continent to another… So I have chosen to speak of some of these different aspects… A sort of collective reflection… When I began to work on the show, the earthquake had just taken place in Italy at L’Aquila… The first images showed the squads of rescuers with their dogs searching for life amidst the rubble… I remembered that when I took my own dog on a training course, I felt as though I was on a dance course… just as every dancer reminded me of a certain type of dog… “Homeless” dogs… “religious” dogs… “artist” dogs… “dancing” dogs and since every time I write the word “dog”, this word can be replaced with “human being”… the free associations have been many, just as was the case for my collaborators, dancers who were extremely involved in this show… As I hope will be the case for the public too…”