Place is the Space – Live!
Choreography by Gabriella Stazio
Movimento Danza Company
Valeria D’Antonio, Sonia Di Gennaro, Simona Perrella
Movimento Danza – National Promotion Body
Ministry of Cultural Heritage and Activities and Tourism
Region of Campania
Duration: about 50 minutes
Place Is The Space – Live! is the new choreography by Gabriella Stazio for the Movimento Danza Company, one of the most important and awarded contemporary dance company in Italy, based in Naples.
Swinging between fortuity and definition, freedom and patterns, contact and contrast, Place Is The Space – Live! is a performance created for both indoor stages and open spaces.
It is a compact and captivating choreography, featuring an outside the box use of the body and of the movement, where space is the place.
The compositional concepts at the base are a few and clear.
The “NO Manifesto” by Yvonne Rainer as he says No to spectacle, No to virtuosity, No to make-believe, No to heroic, No to seduction, and so on.
The aleatory theory by Cunningham-Cage on the relationship between music and dance for which choreography starts without music, having its own space, rhythm, autonomy, its own inner rhythm. The rhythm of the bodies. The match with the musicians sprouts as Live!, on the stage, as a succession of live music improvisation.
The experimentation of the space as the place where movement takes place. As the place of the relations. As the place where to be oneself. Inside and outside.
And a narration of both emotional and physical states taken to the “pivotal point” resulting in the transition to the next ambient.
A meticulous choreography in which nothing is improvised but which is still open and leaves space to the Instant Composition by the interpreters, dancers Valeria D’Antonio, Sonia Di Gennaro and Simona Perrella.
Between space, pattern, mold, quality, rhythm, dynamics, experimentation with the language of movement: from time to time one of these elements undergoes the creativity of the Company, (Live!) according to the “swarm intelligence” in which sharing, cooperation and self-organization set a complex action resulting from a collective intelligence.
Annihilated any chance of a “prefabricated” performance, what we perform – with no objects on the stage, no use of lighting effects, no costumes nor multimedia supports – is an immediate spectacularity described by live music and the contemporary vitality of the bodies.
“The meaning of what we do is in the eyes of the beholder”