September 18, 2022 21:00
Teatro Studio Mila Pieralli Scandicci | IT
When New York Times reporter, Sam Anderson, learned of the death of the last male northern white rhino, he flew to Kenya to spend a week with the last two survivors of the species: two females, mother and daughter, were entering into what we know as “functional extinction”. When they die, the line will be over. Anderson describes the daily lives of Fatu and Najin who, indifferent to their fate, graze under the sun of the reserve where they will be guarded from hunters until they die.
This picture portrays life for life’s sake, as the only function of these individuals is to live, to attest the existence of a species that belongs to the past. I imagine these huge mammals as terribly fragile creatures, their bodies irreplaceable like pieces of a living museum. Knowing that the northern white rhino will disappear with these two individuals, we no longer see a safari animal, but a terribly human creature, and we are confronted with our own destiny. The fact that they still exist and occupy space turns the individual into a symbol of his species, and suddenly, by analogy, a man on stage a symbol of mankind.
This thinking brought me peace of mind in a time of great uncertainty for the world, as when at the end of Lars Von Trier’s “Melancholia”, Kirsten Dunst’s character builds the structure of a tipi, without walls, in which to take refuge with her nephew and sister and wait for the meteorite to collide with the Earth.
In addition to this thinking about the imminent and the possibility of finding peace amidst the chaos of the world, I wanted to work with a very specific dance technique that would allow me to play with very specific dynamics, transforming its recognizable forms; I wanted to go on the hunt for new aesthetics of movement. Urban dances seemed to me an interesting field to explore. I met Oulouy, and we took the styles of urban dance that he dances as a starting point: hip-hop, krump, finger tutting, as well as dances with strong African influences, such as coupé-décalé. I seek, through formal research into, and the transformation of, these dance forms, to offer the image of a man who dances because he has discovered that we have, as Valéry expressed it, “too much energy for our own needs”.
That is, to present dance as excess, as a celebration derived from life.
To dance to exhaustion, to dance to the end because perhaps there is nothing more that can be done.
– Gaston Core –