"We bury things so deep we no longer remember there was anything to bury. Our bodies remember. Our neurotic states remember. But we don't" - Jeanette Winterson
CONCEPT and CREATION: Luana Rossetti (2017/2018)
PERFORMANCE: Luana Rossetti
SOUND and LIGHT DESIGN: Luana Rossetti
TEXTS: Luana Rossetti
DRAMATURGICAL INVOLVEMENT: Ming Poon
PIECE LENGHT: 45 min. version / 20 min. version
SUSTAINED and SUBSIDISED BY: MiBACT, Circuito CUNAE, Gap.Change.Now
PRODUCTION HOUSE, TOUR SUSTAINMENT: Movimento Danza - Gabriella Stazio
CO-PRODUCTION SUPPORTER: Anja Kozik - Waschhaus Potsdam and Oxymoron DC
WINNER OF DIVERSE CHOREOGRAPHIC CONTESTS 2017/ 2018
Hades has been performed in renown Festival as Venice Biennale of Architecture 2018, Nao
Performing Arts Fest - AiEP DiD Studio, Performing
Arts Gala - Teatro Greco - Rome, Lange
Nacht der Dresdener Theater - Scenari
Visibili - Lamezia Terme, Gala
Second Hand, Teatro stabile - Naples, Pfefferberg
Theater, Berlin, Projekttheater
Dresden, Waschhaus Potsdam, among others.
scroll down for Trailer and Video documentation
"Dedicated to my dear father"
A strict self portrait full of paradoxes. The investigation frames facets of this male God concealed behind this woman's body, set in the society of today.
This woman full of demons fights herself in a world which strikes wretched and the femininity as commodity trading. A piece which gives up to all the beautiful lies, a performance which embodies what is sunk in each of us, those unseen fragments of self, the cultural walls we are forced to face.
This woman`s journey through her disambiguation doesn`t find any redemption, but herself, her courage and perseverance which carry on the performance through movements and discoveries of real facts, so strong to leave the audience breathless.
The performer faces her innerself in an authentic confrontation. It is violence and blindness, passion and strength, protection, and a latent pleasure. The lies, the secrets, the personal truths never shared, the rage - the tenderness.
The performer explores sections of diverse
psychological phases she had to go through after experiencing abuses,
as Stockholm syndrome and self-damage until her redemption, those are
recognisable through her deep, intense body language.
In this project the
executor is in a direct relation with her hidden memory, in
correlation with her instinctive bursts and unconscious character
deviations, sometimes deleterious aftermaths.
The performer incites emulations and recalls of experienced and suffered moments; her contorted personality transits between moments of violence longing and pleasant chaos. This woman throws reference points without explaining her stories, in greed of melancholic moments, alternating it with explosive, short and unnatural corporeal language.
The vehicle of understanding are metaphorical and not directed, the audience is led to comprehension through performative choices and references. The movement's research translates into a corporal language personal experiences we bury so deep until no longer having the memories about. The wish is to give an image, a way out to these neurotic states, through body vocabulary and metaphors.
Research, practice and purpose in the discovery of new ways of visual and perceptional expression. In this section my need is to share the methods of approaching the creation, the translation of emotions and memories into motion, the abstraction of the codified movement, the Freudian Transfer - as a method of approaching movements sources, the development of the mise en scéne as an oeneiric subject and the creation of the "timeless zone".