Compagnia Artemis Danza/Monica Casadei

Commenti

Transcript

Compagnia Artemis Danza/Monica Casadei
Traviata
Choreography, direction, scenography, lights and costumes Monica Casadei
Assistant choreographer Elena Bertuzzi
With Vittorio Colella, Melissa Cosseta, Gloria Dorliguzzo, Chiara Montalbani,
Gioia Maria Morisco, Sara Muccioli, Camilla Negri, Stefano Roveda,
Francesca Ruggerini, Emanuele Serrecchia, Vilma Trevisan
Music Giuseppe Verdi
Music editing Luca Vianini
Musical dramaturgy Alessandro Taverna
Production Compagnia Artemis Danza/Monica Casadei
Coproduction Fondazione Teatro Comunale di Ferrara, Festival Verdi - Parma
With the contribution of Ministero per i Beni e le Attività Culturali, Regione Emilia Romagna-Assessorato alla
Cultura, Provincia e Comune di Parma
Traviata is the first chapter of the project Corpo a Corpo Verdi – Trittico, co-produced by Festival Verdi,
Parma (IT) and inspired by Giuseppe Verdi’s Operas. It will be followed by Rigoletto, (at Theatre de
Suresnes Jean Vilar, Parigi) in 2012 and by La doppia Notte, Aida e Tristan in 2013, in occasion of
the Bicentenary of Giuseppe Verdi e Richard Wagner.
The dancer’s body becomes the instrument to translate, enhances and transform the evocative power
of Giuseppe Verdi’s opera and music. Through the vigorous and energetic gestures that always
characterize Monica Casadei’s language, the dancer' body absorbs the passion, the pain, and the
dramatic ending of Violetta’s and Alfredo’s story.
Violetta against everyone. Violetta in white, hope of pureness, Violetta in red, a bleeding heart. A heart
that was better if it never beat. Less pain, less conflict. Violetta, a story marked by a feeling of end. Nothing
is sorted. E' tardi. It's late. Evil waits behind the waltz. Behind celebrations and manners lies a rotten, empty
and sparkling society.
Dance and opera merge creating a flow of images that has no didascalic coherence, and yet it is strictly
connected to Violetta's tragedy. The loving feeling of the one who hopes clashes against the sensation of the
knowledge of the end of everything, while the conflict between single and society, private and public,
is consumed.
In Traviata the part known as Amami, Alfredo, libiam ne' lieti calici, croce e delizia, sì, piangi and
also è tardi, are words linked in our memory to voices, arie, music, stories, theatres.
In our mind Alfredo and Violetta mix with Marguerite and Armand, the protagonists of the novel
La Dame aux camélias by Alexandre Dumas, 1848, a story, wrote the author, whose only merit is
“to be true”. Because it is the real society with its conformism the one depicted in the pages by
Dumas, and Marguerite is the fancy name for Marie Duplessis, a woman loved by the young writer
who died of consumption and was buried in Montmartre.
The novel based on Marie's life will become a theatrical drama, then a opera, and then a ballet.
From Eleonora Duse to Sarah Bernardt, from Maria Callas to Alessandra Ferri,
Marie/Marguerite/Violetta has moven whole generations to tears with her voice, her songs, her
emotional dance.
But what kind of Traviata will we see this evening?
A Traviata seen from Violetta's point of view. Violetta, surrounded by a chauvinist society
represented by a chorus in black. Violetta, multiplied in many female characters, in many cross
sections of her heart. Violetta despised and ill, but still trying to yearn something pure. Violetta,
collided against the rules of the bourgeois society of Alfredo's father, Giorgio Germont, symbol of a
morally ill society. A society which for some reason reflect our.
Therefore Alfredo appears a weak man, crushed by his father actions. He too belongs to the chorus
and is evoked more for his participation to Flora's party than for his declaration of love. Disdain,
again, and again he clashes against a society based on appearances: qui testimon vi chiamo/che qui
pagata io l'ho.
How can it come to an end? How to complete this vision in black and white, stained by red and
pain? With Amami, Alfredo, that will be presented in a mix of many famous editions, as an
invocation, a death cry. A cry of desperation, of solitude, in a very feminine Traviata whose core is
not based on the decoration but on the explosion of a physical energy of pain, mirror of the soul.
(A dripping heart
Notes from a conversation with Monica Casadei on Corpo a Corpo Traviata
by Francesca Pedroni)
Debut:
Danza Contemporanea Festival 2011, Teatro Comunale (Ferrara, 4th -5th November ’11)
Tournée:
Teatro Eduardo De Filippo (Cecina - LI, 26th November ’11)
Teatro Pietro Mascagni (Chiusi – SI, 1st December ’11)
Teatro Verdi (Trieste, 15th, 16th December ’11)
Teatro Rossini (Lugo - RA, 7th February ’11)
Teatro Camploy (Verona, 2nd March ’11)
Arena del Sole (Bologna, 3 rd April ’11)
MaggioFest, Teatro Comunale (Teramo, 4th May ’12)
Teatro Carlo Gomes (Rio de Janeiro, Brazil, 17 th , 18th May ’12)
Memorial da América Latina (San Paolo, Brazil, 21 st May ’12)
Teatro HBSC (Curitiba, Brazil, 24th May ’12)
SESC Palladium (Belo Horizonte, Brazil, 1st June ’12)
Amo la Mole, Corte della Mole Vanvitelliana (Ancona, 20th July ’12)
Acqui in Palcoscenico, Teatro all'aperto G. Verdi (Acui Terme-AL, 24th July ’12)
La Versiliana Festival, Teatro all’aperto della Versiliana (Marina di Pietrasanta, 21 st August ’12)
Teatro Na Strastnom (Moscow – Russia , 15th September ‘12)
Teatro Sociale (Trento, 11th October ’12)
Teatro Novelli (Rimini, 4th , 5th December '12)
Teatro Comunale (Treviso, 12th December ’12)
Teatro Mengoni (Magione – PG, 18th January ’13)
Teatro Persiani (Recanati – MC, 19th January ’13)
Teatro degli Industri (Grosseto, 22nd January ’13)
Teatro Bonci (Cesena, 25th January ’13)
Teatro dei Rinnovati (Siena, 27th January ’13)
Teatro Verdi (Pisa, 30th January ’13)
Teatro Comunale (Porto San Giorgio - FM, 22nd February '13)
Teatro Gentile (Fabbriano – AN, 23st February '13)
Teatro Municipale (Piacenza, 28th April '13)
Sala Ibn Khaldoun (Algeri, Algeria, 29th May ’13)
Teatro Sociale (Bergamo, 11 June ’13)
Teatro di Wollfsburg (30 September ‘13)
Reva and David Logan Center for the Arts/ University of Chicago (14 November ’13)
Théâtre Raymond Kabbaz – Los Angeles (16 November ’13)
Teatro dell’Opera di Cracovia (30 November ’13)

Documenti analoghi