{"id":7983,"date":"2015-12-22T09:00:47","date_gmt":"2015-12-22T09:00:47","guid":{"rendered":"https:\/\/fabbricaeuropa.net\/?p=7983"},"modified":"2016-07-07T13:16:00","modified_gmt":"2016-07-07T13:16:00","slug":"ric-ci-projectnext-events","status":"publish","type":"post","link":"https:\/\/fabbricaeuropa.net\/en\/ric-ci-projectnext-events\/","title":{"rendered":"E-INK 1999-2014"},"content":{"rendered":"<h3>by Michele Di Stefano<\/h3>\n<p>January 30, 2016 h 21:00 | Teatro Comunale, Carpi<br \/>\nFebruary 9, 2016 h 21:00 | Auditorium\/Parco della Musica, Festival Equilibrio, Rome<br \/>\nFebruary 20, 2016 h 21:00 | Teatro Rossini, Pesaro<br \/>\nFebruary 24, 2016 h 21:00 | Teatro Comunale, Ferrara<br \/>\nMarch 2, 2016 h 21:00 | Teatro Abeliano, Bari<br \/>\nApril 21, 2016 h 20:45 | Teatro Comunale, Vicenza<\/p>\n<p>&nbsp;<\/p>\n<p>Within the project<br \/>\n<strong>RIC.CI Reconstruction Italian Contemporary Choreography<\/strong><\/p>\n<p>This work stemmed from curiosity regarding how oracular and prophetic messages are transmitted. Although precise in form, they are the result of destabilisation. Both exact and ambiguous in one, their communication is based around the momentary domestication of something whose nature desires it to be continually rewritten and reinvented. And misinterpreted.<br \/>\nPerhaps in the constant changing of the body&#8217;s state and its inconsequential reordering we can get closer to this unusual point of view and the compositional potential of a changing form of writing. Like the electronic inks of the near future, but only readable as a premonition.<br \/>\nMichele Di Stefano, 1999<\/p>\n<p>The duet E-ink is fully choreographed, down to the smallest detail, to the extent that is appears paroxysmal and maniacal in its abundance of symbols, each of which follows a different rhythmic logic. Whilst we were reconstructing the work it was above all the body which rediscovered the precision of the writing, fusing all the detached details and returning them to an organic whole made up of mysterious iconography.<br \/>\nThe main thing we asked to the two new performers was unconditional trust in this unrecognisable system, producing a physical rhythm that is not necessarily identical to the original, but which is capable of recreating the same absolute, arbitrary authority that characterises the work. The extraordinary pliability of these new bodies led once more to the blossoming of a choreographic element based on the contrast between precision and disorientation, the same principle for which the Oracle of Delphi was built. This new dynamic is achieved through unspeakable power, producing perfectly crafted verses in the process. Dance is clearly a matter of language.<br \/>\nMichele Di Stefano, 2015<\/p>\n<h6>choreography: Michele Di Stefano<br \/>\nperformers: Damiano Artale, Philippe Kratz<br \/>\nmusic: Paolo Sinigaglia<br \/>\nlight design: Michele Di Stefano<br \/>\n1999 production: mk\/Festival Teatri 90\/Ref.<br \/>\npremi\u00e8re: February 1999 Teatri90 festival \u2013 Teatro Franco Parenti, Milan<br \/>\nperformers: Biagio Caravano, Michele Di Stefano<br \/>\n2014 production: mk, Aterballetto, Fabbrica Europa<br \/>\nreconstruction curated by Biagio Caravano and Michele Di Stefano<br \/>\nchoreography, lighting and costumes: Michele Di Stefano<br \/>\nReconstruction within the project<br \/>\nRIC.CI<br \/>\nReconstruction Italian Contemporary Choreography<br \/>\nAnni \u201980-\u201890<br \/>\nconception and artistic direction: Marinella Guatterini<br \/>\norganization and communication: Silvia Albanese<br \/>\nin collaboration with: AMAT | Associazione Marchigiana Attivit\u00e0 Teatrali \/<br \/>\nARTEVEN Circuito Teatrale Regionale Veneto \/ TPP | Teatro Pubblico Pugliese<br \/>\nin co-production with: Fondazione Teatro Grande di Brescia \/ Fondazione Fabbrica Europa \/<br \/>\nFondazione Milano Civica Scuola di Teatro Paolo Grassi \/ Fondazione Ravenna Manifestazioni \/<br \/>\nFondazione Teatro Comunale di Ferrara \u201cClaudio Abbado\u201d \/ Torinodanza | Fondazione del Teatro Stabile di Torino<br \/>\n[photo: Nadir Bonazzi]<\/h6>\n<p>&nbsp;<\/p>\n<p><strong>Video<\/strong><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/h7q7x5IuX9U\" height=\"315\" width=\"560\" allowfullscreen=\"\" frameborder=\"0\"><\/iframe><br \/>\n&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>by Michele Di Stefano<br \/>\nRIC.CI project &#8211; Next events<\/p>\n","protected":false},"author":2,"featured_media":8007,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11],"tags":[],"class_list":["post-7983","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\/7983","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=7983"}],"version-history":[{"count":0,"href":"https:\/\/fabbricaeuropa.net\/en\/wp-json\/wp\/v2\/posts\/7983\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/fabbricaeuropa.net\/en\/wp-json\/wp\/v2\/media\/8007"}],"wp:attachment":[{"href":"https:\/\/fabbricaeuropa.net\/en\/wp-json\/wp\/v2\/media?parent=7983"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fabbricaeuropa.net\/en\/wp-json\/wp\/v2\/categories?post=7983"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fabbricaeuropa.net\/en\/wp-json\/wp\/v2\/tags?post=7983"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}