Choreography: Giorgia Nardin
Collaborated with: Marco D'Agostin, Sara Leghissa
Research process: Amy Bell, Marco D'Agostin, Sara Leghissa, Giorgia Nardin
Sound design: Luca Scapellato LSKA
Light design: Matteo Fantoni
Costumes: Edda Binotto
An empty frame, a male body, a female body and an ensemble of minor everyday actions torn from reality and integrated in an ethereal context deprived from the diachronic flowing of time and its hunger. This is how the bodies in the choreographies of Giorgia Nardin lie: full of matter, consumed by a “political” sentiment that goes through them from head to feet and collapses in a core hidden from the gaze, in the slowness of the movement, in the nudity, in an imposition – reassuring and cruel at the same time – of reality. An idea of being on stage - or in the world - that Nardin has been nurturing during her dance training in the most important European research centres, in workshops with national and international artists and through the collaboration with Marco D’Agostin and Francesca Foscarini, friends and fellow travellers with whom in 2011 she created the funny and disturbing Spic & Span (special mention at Premio Scenario the same year). After Dolly, her first solo choreography on the theme of gender identity, All dressed up with nowhere to go is her first choreographic work.
A long title to stress the lack of an end or a constant and at the same time subtle transformation. To be dressed up without knowing where to go: to destroy the linearity of time, the beginning and the end, the body’s chance to find memory in the gesture, to crystallize the movement. The bodies of the performers are, on this stage, pins of reality stuck in the weaving of the performance. They touch their noses, heads; they fold cuffs and collars as if they were surprised in the street, in a supermarket, or seat at the office’s desk.
Only one limb remains still, as a goad sustaining all the weight of reality, as a trunk that digs and presses the land, vainly trying to draw out its own roots, to subsequently find itself out of balance, subject to all the force of gravity. So the bodies of the dancers react, through the continuous transformation of their degree of presence and movement awareness, to a loss of balance, through a choreography composed by a limited set of patterns that every single performer can freely use to avoid falling. This bold use of “reality” – that beyond the metaphor skilfully touches the borders of performing art- is mirrored in an immaterial dimension that gradually fills the stage through the cyclical nature of movement. Weariness is an escape route, contact is a form of protection to escape from the gaze of an observer that runs over the bare and sacred surface of the bodies without embarrassment or provocation. Everything lies there, in trying to foresee the abstract in the concrete and the reality in the abstraction, in the pale tints of the bodies and in the soft lighting of a form of warmth. And the body reacts to all this. - Matteo Antonaci –
A pair of dancers barely dressed move very slowly. Her right foot never touches the floor. His left foot
neither. Equilibrium sounds good to define All dressed up with nowhere to go, an intense and hypnotic
choreography by Giorgia Nardin. She requires a lot of concentration from her performers, the elegant
dancers Marco D’Agostin and Sara Leghissa, and she demands the same of the audience. If you play her
game you will go into a very intimate universe and maybe you will be touched by this proposal, simple
and complex at the same time, intriguing and delicate. It looks merely like two bodies moving but if you
go deep, you will discover that the authentic issue here is not physical. It’s emotional.
Omar Khan @susyqdanza za ediciju Springback – Aerowaves
Winner of Premio Prospettiva Danza 2013 Selected for Aerowaves 2015
Developed as part of ChoreoRoam Europe 2012 CSC/Centro per la Scena Contemporanea Bassano del Grappa (Vicenza), The Place (London), Dansateliers (Rotterdam), Paso a 2/Certamen Coreografico (Madrid), Dance Week Festival (Zagreb) Developed as part of B Project 2013 Jheronimus Bosch 500 Foundation (‘s-Hertogenbosch), CSC/Centro per la Scena Contemporanea (Bassano del Grappa), Dance Umbrella (London), D.ID Dance Identity (Pinkafeld), La Briqueterie-Centre de développement chorégraphique du Val de Marne (Paris), Dansateliers (Rotterdam) Supported by CSC/Centro per la Scena Contemporanea - Bassano del Grappa, Graner/Mercat de les Flors - Barcelona, La Piccionaia/I Carrara/Teatro Villa dei Leoni - Mira, La Conigliera - Resana, INTEATRO Residenze - Polverigi, Teatro Fondamenta Nuove - Venezia, Associazione Culturale Arearea – Udine, Associazione Culturale VAN