Come neve
Choreography by Adriano Bolognino
Dancers: Rosaria Di Maro and Noemi Caricchia
Co-Production: Körper – National Dance Production Center / Fondazione Teatro Comunale Città di Vicenza – Festival Danza in Rete
Supported by Orsolina28, Nitja Senter samtidskunst, Italian Institute of Culture in Oslo, and the Italian Embassy in Norway.
Music by: Olafur Arnalds/Josin
Costumes: Crochet Club, Naples
Text revision: Rosa Coppola
Thanks to: C.A.M. Museum, Francesco Aurisicchio Photographer, Mirko Ingrao
“with the support of KOMM TANZ/PASSO NORD
Compagnia Abbondanza/Bertoni residency project in collaboration with the City of Rovereto.”
Come Neve wants to translate a personal idea of well-being into dance.
The starting image is a snow falling outside the window. The feeling of comfort that comes
from the sense of protection and warmth inside, combined with the magic of contemplating
the whiteness outside.
Before beginning the work, I involved a group of women in the project who gathered in a
“Crochet Club” during the pandemic. This ancient art served as an opportunity not only for
collaboration and connection for these women, but also an opportunity for renaissance.
It is said that crochet was born from the ability and imagination of a woman who, fascinated
by the beauty and perfection of the snowflakes, decided to reproduce their wonder with a
simple hooked needle and a cotton thread.
Interweaving these elements, I wants to invade the spectator with a sudden snowfall of
bodies in movement, causing time to pause in a state of serene contemplation. A piece
composed as a crochet work: an intricate yet sophisticated plot, a conscious weaving that
generates new forms.
Hamlet
Choreography: Adria Ferrali
Dramaturgy: Adria Ferrali & Harald Emgård
Performers: Angelica Stella, Thomas Johansen
Music: Sir William Walton
“Hamletus Stirps Virilis” are five dramatic scenes which explore the complexity of Hamlet’s mind and his unrequited love.
The choreography begins as a danced drama. The work defines the path and stereotype of the dramatically distorted and degenerated interpersonal relationships within a specific family clan and its devastating effects on all the characters and future generations.
Hamlet’s entire male lineage is specifically indicated by the Latin title “Virilis” which was used by the Roman writer Livio. Now, thanks to the transformation and the use of the word in various contemporary languages, the term deliberately expresses the character’s impotence and inability to act.
In its parameters and modernity, Hamlet, as well as Hamlet’s entire generation (Gertrude and Ophelia) is incapable of interacting in harmony and fulfilling his sexuality.
In the first scene, Hamlet and Gertrude express the Oedipal problems of their “mother-son” relationship: its violence and devastating effects which create wails of pain and humiliation.
In the second scene, the concept of the incomprehension and isolation between the two characters is illustrated in Gertrude’s solo which manifests strong plasticity of forms as well as repetitive and haunting movement sequences.The Hamlet solo in the third scene displays the skill and the tormented thinking of the young man, the poetic harmony which translates into rhythm and movement and closes with Ophelia’s sighing presence.
In the duet, Hamlet’s sword represents erotic tension in its tragic suspension and final rejection. It is a symbol of life and death. Through Ophelia’s madness and subsequent death, she is transformed and achieves the highest degree of purification through nature.
The sixth and final scene outlines the synthesis of all the characters. After the discovery of Ophelia’s body and the emotional catharsis, “the woman” appears. This symbolic character combines the choreographic canons of the two female figures in the play and dances around the men, precisely defining that painful misunderstanding. This Hamletic woman collects the psychological characteristics that contribute to the very creation of the lineage.
