<\/p>\n
The selection of the performance\u00a0Erodiade – Fame di vento<\/strong> (H\u00e9rodiade – Hungry for Wind) to be included within the project RIC.CI \u00a0– \u00a0Reconstruction Italian Contemporary Choreography Years ’80\/’90<\/em>\u00a0 – \u00a0dedicated to the\u00a0memory of \u00a0Italian contemporary dance and to our\u00a0\u201cchoreutic tradition of the new\u201d, originates from the expressive strength of the inspiration and the actual components which have made the staging possible. The performance was inspired by the uncompleted poem H\u00e9rodiade<\/em> by St\u00e9phane Mallarm\u00e9 of which only three fragments and a series of notes are left.<\/p>\n The central figure is H\u00e9rodiade (or Salom\u00e8 but Mallarm\u00e9 prefers calling her by her mother\u2019s name in order to differ from the modern Salom\u00e8 and her stereotypes: the seven veils, etc.) seen in her immense solitude and grief; the myth of sensuality is not anymore the center around which events take place. H\u00e9rodiade wants and obtains everything in her seeking warmth, even the head of the Baptist who, through\u00a0his\u00a0martyrdom will show her the road to catharsis. <\/p>\n The performance is based on Mallarm\u00e9’s unfinished Herodias<\/em>, of which only poetic fragments and notes remain. Herodias, the main character, is more commonly known as Salom\u00e9, but Mallarm\u00e9 prefers the mother’s name so as to establish distance from the modern stereotype of Salom\u00e9 with her seven veils, etc. <\/p>\n <\/p>\n <\/p>\n CALENDAR<\/strong><\/p>\n October 14, 2017 | Teatro Storchi, Modena (Italy)<\/a> <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" The selection of the performance\u00a0Erodiade – Fame di vento (H\u00e9rodiade – Hungry for Wind) to be included within the project RIC.CI \u00a0– \u00a0Reconstruction Italian Contemporary Choreography Years ’80\/’90\u00a0 – \u00a0dedicated to the\u00a0memory of \u00a0Italian contemporary dance and to our\u00a0\u201cchoreutic tradition of the new\u201d, originates from the expressive strength of the inspiration and the actual […]<\/p>\n","protected":false},"author":2,"featured_media":15713,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11],"tags":[],"class_list":["post-15723","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized-en"],"_links":{"self":[{"href":"https:\/\/fabbricaeuropa.net\/en\/wp-json\/wp\/v2\/posts\/15723","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fabbricaeuropa.net\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fabbricaeuropa.net\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fabbricaeuropa.net\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/fabbricaeuropa.net\/en\/wp-json\/wp\/v2\/comments?post=15723"}],"version-history":[{"count":0,"href":"https:\/\/fabbricaeuropa.net\/en\/wp-json\/wp\/v2\/posts\/15723\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/fabbricaeuropa.net\/en\/wp-json\/wp\/v2\/media\/15713"}],"wp:attachment":[{"href":"https:\/\/fabbricaeuropa.net\/en\/wp-json\/wp\/v2\/media?parent=15723"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fabbricaeuropa.net\/en\/wp-json\/wp\/v2\/categories?post=15723"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fabbricaeuropa.net\/en\/wp-json\/wp\/v2\/tags?post=15723"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nThe set design created by famous contemporary visual artist Alighiero Boetti<\/strong> (prematurely deceased in 1994) is another distinctive sign of that period marked by very active joint projects, within theatre, among art creators of various disciplines, especially painters and visual artists. The red backdrop by Alighiero Boetti and the various parts of the scene create a space: a site for metamorphosis,\u00a0\u2018sacred\u2019 space of geometric clarity and visual invention. This artistic set design carries a sign of great beauty and gives the whole\u00a0performance the powerful tone, typical of many productions of those years.
\nThe\u00a0choreographic narration has a double value, both for the original musicality of Gabriella Bartolomei, voice-over, and the ravishing scores, the one by Paul Hindemith, above all.
\nMarinella Guatterini<\/p>\n
\nDistressed by the immense sense of solitude and sadness about her, the myth of beauty is no longer the focal point for the events about her. She desires and obtains all things in her search for warmth, including the Baptist’s head, with, through his martyrdom, signals the way to her purification.
\nBut she is tormented by restlessnes: Herodias is ever lonelier, ever more desperate in her search for the Absolute, of something that passes beyond. It is in this profound sort of interior state, whe she is projected toward extremes, aided by \u201cbenign spirits\u201d, that something snaps within her, which permits her to nourish faith. She is finally able to see a figure that, although everpresent, had remained invisible – her Angel. A luminescent body whose light indicates possible courses to take and whose presence encourages those paths: a beeing who bears witness to mistery.<\/p>\nchoreography: Julie Ann Anzilotti
\nmusic: Paul Hindemith, Wilhelm Killmayer, Walter F\u04d3hndrich, Wolfgang Rihm
\nscenery: Alighiero e Boetti
\nassistant scenery: Tiziana Draghi
\ncostumes: Loretta Mugnai
\ndancers: Paola Bedoni (Nurse), Giulia Ciani (Angel), Liber Dorizzi (John the Baptist), Sara Ladu (Spirit of Good), Laura Massetti (Spirit of Evil), Sara Paternesi (Herodi\u00e0s)
\noriginal vocal patterns: Gabriella Bartolomei
\nmusical advisor: Michele Porzio
\nartistic collaboration: Carla Chiti
\nlight designer: Andrea Berselli
\nstagehand: Giovanni Macis
\n1993 premi\u00e8re: Teatro Ponchielli in Cremona within \u201cProgetto Neoclassico\u201d by Marinella Guatterini
\n2017 reconstruction within the project RIC.CI \u2013 ReconstructionItalian Contemporary Choreography Anni \u201880\/\u201990 designed and directed by Marinella Guatterini with the support of Silvia Coggiola and Matteo Rinaldini, organization and communication; Alberto Calcinai: photographer
\nproduction: Compagnia Xe
\nin collaboration with Amat \u2013 Associazione Marchigiana Attivit\u00e0 Teatrali \/ Teatro Pubblico Pugliese \u2013 Consorzio Regionale per le Arti e la Cultura \/ Fondazione Toscana Spettacolo Onlus \/ Fondazione Milano – Civica Scuola di Teatro Paolo Grassi
\nin co-production with Fondazione Fabbrica Europa per le arti contemporanee \/ Ravenna Festival \/ Fondazione Teatro Comunale di Ferrara \u201cClaudio Abbado\u201d \/ Torinodanza festival \u2013 Teatro Stabile di Torino Teatro Nazionale
\nthanks to Fondazione Alighiero e Boetti<\/h6>\n
\nOctober 25, 2017 | Teatro Comunale, Ferrara (Italy)<\/a>
\nNovember 25, 2017 | Teatro Guglielmi, Massa (Italy)<\/a>
\nApril 21, 2018 | Teatro della Fortuna, Fano (Italy)<\/a>
\nApril 27, 2018 | Teatro Kismet, Bari (Italy)<\/a>
\nMay 10-11, 2018 | Festival Fabbrica Europa – Teatro Goldoni, Florence (Italy)<\/a>
\nJune 18, 2018 | Teatro Alighieri, Ravenna (Italy)<\/a>
\nSeptember 5-6, 2018 | Oriente Occidente – MART, Rovereto (Italy)<\/a>
\nSeptember 17, 2018 | Torinodanza – Teatro Carignano, Turin (Italy)<\/a><\/p>\n[photo: Marco Caselli Nirmal, detail]<\/h6>\n