a project by
for eight performers Raffaella Giordano‚ Piera Principe‚ Doriana Crema‚ Clelia Moretti‚ Aldo Rendina‚ Elena De Renzio‚ Enrico Tedde‚ Giulio De Leo
conceived and choreographed by Raffaella Giordano
lighting design Vincent Longuemare
music⁄sound design Lorenzo Brusci
set design Stefano Ricci
thanks to Danio Manfredini‚ Marina Borruso e Marco Manchisi
in collaboration with
Fondazione Emilia Romagna Teatro
and L’Officina Atelier Marseillais de Production⁄Dansem Théatre des Bernardines–Marseille‚ DBM (project supported by EU–Culture 2000)‚ Fondazione Teatro Metastasio di Prato‚ R.E.D Reggio Emilia Danza‚ Ass. Reggio Parma Festival‚ Armunia–Festival della Riviera‚ Theatre De La Bastille–Paris‚ Viartisti Teatro–Teatroimpegnocivile ‚ Teatro Comunale di Castiglion Fiorentino
My concept is the language of the body‚ dance. The reality that lives within it is not only physical matter‚ but thought‚ heart‚ intellect‚ emotion...
For me it is important not to exclude‚ but to try to realise inclusion‚ integrity. Thus the centre of observation becomes the person and each of his or her modes of expression is a possible source of artistic creation.
Every performance is the fruit of a relationship.
The focusing of the pre–text occurs mainly at the time of creation because it must connect intimately with that present moment and with the needs of those participating. The form of language and signs used follow on from that pre–text‚ liberating it in tune with the origin of us all.
“We are immersed in a mysterious system of relationships. The lack of a narrative frees the onlooker from the need to understand. The men in black‚ united in a common destiny‚ represent the human condition‚ where everyone from time to time becomes spokesperson for a difference.
Forms and scenic elements give life to a geography that is continually moved‚ shifted‚ manipulated.
Doors and crevices‚ empty crevices‚ open. The impression of a mystery that concerns us‚ indescribable and nameless‚ crosses the space. The countryside alters‚ leaving us in wonder at a place that reveals itself to be a point in movement. Unhappy with his pre–established role‚ the actor‚ in a receptive state‚ makes himself the servant of what surrounds him and exposes himself to the ambiguity of the significances‚ generating a broader meaning.
The boundary is unstable: the men in black become in turn inquisitors and those investigated‚ observers and those observed‚ witnesses or authors of acts of life‚ of love‚ of cruelty.”