September 4, 2022 19:00
Representing great stories through small bodies is what has been driving the tradition of I Pupi (typical Sicilian puppets) for centuries, incorporating the adventures, defeats, vicissitudes or perhaps more simply the people and characters lifes on a small scale. With their bodies, supported by wires and crossed from the skull to the pelvis by an iron rod, I Pupi try to mirror the human being both structurally and metaphorically.
What happens in the choreographic process is an inverse transformation, the visualization of a thin line that questions the action instantaneousness, in which to trace the possible variations of movement in the posture of Il Pupo. Starting from this background image, the dancer enters the shape of Il Pupo, makes its posture his own, moves independently while remaining moved by something else: he is therefore both a puppeteer and a Pupo himself.
Dipped into a narrative dimension, the gesture characterization merges with the search for the character that follows the ideal thread of a story, that one of Orlando Furioso. A camouflaged tale, made up of comic and dramatic substrates, of landscapes that appear and disappear instantly, becomes an opportunity to deepen and detail the spatial and temporal dynamics useful for bringing out a movement quality that can recall Il Pupo.
Working on the suspensions, on the idea of being moved from the outside, on the reduction of muscular effort in favor of the joints, on the contrast of the force of gravity, the scene inhabited by I Pupi moves between tension and lightness, a place where you can explore the stories that each person carries within himself.