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CO-PRODUCTIONS
CAMPI#1
DIREZIONE ARTISTICA E COORDINAMENTO COREOGRAFICO Matteo Bittante e Lara Guidetti
AZIONI COREOGRAFICHE E ATTRAVERSAMENTI PERFORMATIVI Maksym Petrashchuk, Erika Di Mauro e Tejaswini Loundo
CON I DANZATORI E LE DANZATRICI di DANCEHAUSpiù e Sanpapiè/SPACCA (9 interpreti )
COPRODUZIONE DANCEHAUSpiù e SPACCA / Sanpapiè
CAMPI# è un dispositivo performativo nomade ideato da DANCEHAUSpiù e Sanpapiè/SPACCA per abitare e riscriversi in luoghi sempre diversi. Pensato per attraversare spazi rigenerati, architetture riconvertite e paesaggi in trasformazione, nasce dall'idea che la coreografia non occupi uno spazio,ma entri in relazione con esso, lasciando che ogni contesto ne ridefinisca forma, ritmo e composizione.
Più che presentare opere, CAMPI# costruisce un campo di relazioni. La creazione mette in dialogo le poetiche di Matteo Bittante e Lara Guidetti con quelle di Maksym Petrashchuk, Erika Di Mauro e Tejaswini Loundo, intrecciando esperienze, generazioni e linguaggi in un'unica scrittura performativa. Corpi, autorialità, spazio e architettura si influenzano reciprocamente, generando ogni volta una configurazione inedita.
Il pubblico è invitato ad attraversare lo spazio seguendo traiettorie sempre diverse, costruendo una propria esperienza dell'opera. Non esiste un unico punto di vista: ogni percorso genera relazioni, immagini e prospettive irripetibili. I corpi emergono, si dissolvono e si rincorrono in un paesaggio performativo in continua metamorfosi, dove ogni attraversamento trasforma lo spazio in drammaturgia e ogni luogo diventa parte integrante della coreografia. Perché, in CAMPI#, la coreografia non appartiene solo ai corpi che danzano, ma anche allo sguardo di chi li incontra.
I MILLE VOLTI DELLA MUSICA E DELLA DANZA
BY | MATTEO BITTANTE
ORIGINAL MUSIC BY Jorge A. Bosso
with DANCEHAUSpiù dancers: Rebecca Bassoli, Maksym Petrashchuk
PRODUCTION DANCEHAUSpiù 2026
COPRODUCTION SERATE MUSICALI ETS
duration 55'
A clarinet and a cello; music from the past and music of the present embrace the danced word of a pair of performers, vibrating in unison with the illusions painted on the walls, merging the fleeting moment of human movement with the eternal dream impressed in stone.
A soundscape permeated by distant sounds and contemporary thoughts merges with dance in its inexhaustible nuances, shaped and punctuated by improvisation.
The ancient walls speak; the silent frescoes—in their hushed stillness—tell their stories, and tell ours. Guardians of a centuries-old memory.
Choreographer Matteo Bittante and the dancers of his company, DANCEHAUSpiù, weave a rich and polychromatic dialogue, infused with the crystalline, diaphanous geometries of their gestures and their gazes. We dance with the mind, attempting to give form to the revelations of our soul. A privileged form of expression, in which the abstract sign is transformed into movement in the timeless search for ourselves. And awareness of the present moment becomes both light and an exercise in identity.
In this suspended space, architecture ceases to be inert matter and becomes a living stage, where historical beauty gives rise to new avant-garde visions. Performing art breaks through the boundaries of centuries, translating memory into a shared, immersive experience.
TANGOS AT AN EXHIBITION!
Improvisation performance on tango themes
COPRODUCTION 2024 Studio BossoConcept e DanceHauspiù
ARTISTIC DIRECTION Matteo Bittante in collaborazione con Paola Lattanzi
DANCE Paola Lattanzi, Matteo Bittante, Barbara Allegrezza, Nicolò Castagni
CARINET Ivana Zecca
BANDONEÓN Davide Vendramin
VIOLONCELLO Jorge A.Bosso
CONTRABBASS Piermario Murelli
ORIGINAL MUSICS Jorge A. Bosso
ph Alice Colombo
A few years back, the BossoConcept ensemble released the CD and DVD Tangos at an Exhibition! A work whose nature suggested the utopia of proposing a contemporary vision of the music of Buenos Aires. A promenade along which sound images, each characteristic and peculiar, follow one another with a vertigo of freedom, at the service of an attractive design composed of new illusions and current enthusiasm.
The ensemble now returns to offer some of the music from this album in the service of dance. Almost as if, in this way, the tango returned to its origins and the dance took back the space it had usurped.
The collaboration between BossoConcept and DANCEHAUSpiù lies in the desire to tread a path far removed from clichés, and in the possibility of creating a space where a different gesture is permissible because it is necessary. Because in the action of tracing the perennial nature of its change, and the ephemeral condition of its present, dwells the boundless magic of all artistic expression.
‘I am not a tango dancer or choreographer, but I have had significant experiences related to this dance. When I listened to Maestro Jorge Bosso's music, I realised I had to work on the memory, deconstructing it to bring the essence of my experience in the tango back to the stage. I wanted everything to emerge from the darkness, with the dancers revealing themselves through the music.
I paid attention to details and images that evoke feelings of circularity, mystery, glances and embraces. Bodies become sound, revealing faces in the light. Hands meet, while bodies form pyramidal figures. This is how the first study was born, with the assistance of Paola Lattanzi's eye.’
Matteo Bittante
BossoConcept has been active since 2001 on the national and international music scene with new productions and premieres, conceived and created by composer and cellist Jorge A. Bosso. It is a multifaceted formation with a varying personnel from quartet to orchestra. Their repertoire ranges from classical music to borderline sounds, new music and reinterpretations of the past from a different perspective. BossoConcept was created to offer music with the profound conviction that the world of sounds is pervaded by a fusion of styles, an amalgamation of trends; some happier than others, but without a doubt, the instant the association of experiences creates one with the need for its reception, the miracle happens. The miracle of beauty to which man unwittingly becomes a witness.
OMMANIPADMEHUM
COREOGRAPHY | Stefano Fardelli
DANCERSI | Umberto Gesi (Italy), Tejaswini Loundo (India), Marco Hernandez (Mexico), Jesus Rea (Bolivia)
ORIGINAL MUSIC| Francesco Ziello
REHEARSAL ASSISTANT | Jesus Rea Costume
DESIGNER | Marco Hernandez | De La Croix
VIDEO MAKER | Salvatore Lazzaro
VISUAL ARTIST | Matteo Bittante
PHOTOGRAPHY | Salvatore Lazzaro, Antonino Dimondo
Duration 35'
ph Salvatore Lazzaro
OM-MANI-PADME-HUM which in Sanskrit literally means “honouring the lotus jewel”, focuses on the history and rituals of the Tibetan Buddhists of the Yellow Hat Order with a particular focus on their connection to the Shaolin monks and thus the study of their training. The encounters with the Buddhist monks and the martial arts students, the study of their practice and ceremonies are the foundation of the choreography. When the bell starts to play the rite begins, the dancers enter what could be a temple and lead us in another dimension and place, accompanied by the Francesco Ziello original music. Hats, cloaks, a sun symbol of the divine, and the gold of temples are often rendered abstract by an aseptic architectural use of space and by string or orchestral music that creates contrasts between oriental images and western sounds. To conclude, a multicultural cast that translates the movements of the Shaolin monks with different nuances that reveal the origins of the various dancers and thus a quality of movement linked to the traditional dances of the performers that influence, and give character to, the entire piece.
EUTROPIA
IDEATION AND CHOREOGRAPHY | MariaGiulia Serantoni
DANCE AND CHOREOGRAPHY | Chiara Ameglio, Cesare Benedetti, Maria Focaraccio
MUSIC AND LIVE PERFORMANCE | Stella Sesto
SOUND ENGINEER AND MUSIC MIXING | Andrea Parolin
DRAMATURGY | Irene Pozzi
COSTUMES | Arianna Fantin
SCENOGRAPHY IDEATION | Giacomo della Maria, Luca Negri, MariaGiulia Serantoni
SCENOGRAPHY REALISATION | Luca Negri
LIGHT DESIGNER | Paolo Bonapace
"Tomorrow, we begin together the construction of a city" Lebbeus Woods 1993.
The performance, a visionary reflection on the idea of the city, is inspired by Italo Calvino's Invisible Cities: Eutropia, an imaginary city, is a space to be designed. Those who inhabit it become architects of their own reality, in which they create relationships and generate resonances.
The dancers, inhabitants of the city, through interaction with a table compose a new world made of sound, dynamics and visions. The scenic object translates gestures and movements into a sound environment in which they redesign their own universe. The performers develop a conversation, a dialogue around this totem, instrument and gravitational pole, the repositioning of which opens up a glimpse of new, possible and necessary dimensions, further versions of Eutropia, ready to be reconstructed and redesigned at any moment for every new need.
A[1]BIT
CHOREOGRAPHY | LARA GUIDETTI
DRAMATURG | MARCELLO GORI
INSTALLATIONS | MADDALENA ORIANI
PRODUCTION | SANPAPIÉ in collaboration with MilanOltre, Festival Exister, DanceHauspiù, Sentieri Selvaggi
durata 20′
ph Aschieri Claudia
Quite a challenge for Lara Guidetti: to create a choreographic work based on the unique composition A 1 Bit Simphony by the New York-based artist Tristan Perich, the first album ever published in the form of a microchip. A symphony in 5 movements inspired by the most disparate musical influences (from Strauss to the early Nintendo sound world, via Glass and Reich), inspired by the aesthetic simplicity of mathematics and physics. Body and sound come together to investigate the infinite possibilities of movement, as if it were a physical particle (bit) to be analysed in relation to rhythm, dimension, direction.
A hypnotic force that will surprise for its emotional depth.
Each movement of the symphony will come to life at a different point in the city in a two-year journey in stages, in which Milan and three of its festivals will become the setting for danced incursions up to the final composition scheduled for 2019.
SCHATTEN about Egon Schiele
DIRECTION | ERIKA SILGONER, WOLFGANG PIONTEK
DRAMATURGY | PETER PIONTEK
IDEA AND CHOREOGRAPHY | ERIKA SILGONER - ESKLAN'S ARTS FACTORY
DANCE AND PERFORMANCE | HANNAH STEIN, GRÉGOIRE MANHES, KACPER SZLARSKI
ASSISTANT DIRECTOR | KRISTNA MATTHIAS
ORIGINAL MUSIC | MO HEIDRICH
VIDEO | VOLKER SCHREINER
COSTUMES | SABINE MECH
LIGHT DESIGNER | JÖRG FINGER
PRODUCTION | COMMEDIA FUTURA, DANCEHAUSpiù
The dichotomy between creative and destructive force, the depiction of bodies with a screaming expressiveness, Egon Schiele's creative bulimia, lend themselves to questions about his short life, to imagining scenarios and filling voids, to playing with absences and shadows.
Everything happens in his mind.
There are three figures in this scenario: the artist, conditioned by the aesthetics represented by Schiele, in a fumbling dialogue with two others, Wally, his muse, and his father. Between them, Schatten (shadow) hangs in unstable balance.
Such a vast creative wealth can be disorienting, but perhaps it is precisely by losing oneself in the world of this artist that one can find something hidden that speaks of ourselves, of our denied nature, of our shadows.
-E. Silgoner-
MANBUHSA
BY | PABLO GIROLAMI
with | PABLO GIROLAMI and GIACOMO TODESCHI
duration 8' o 30'
"Manbuhsa" was created by imagining two young boys playing in a rice field. Incentivised by a fascination for foreign civilisations and forged on the rhythms of music, a relationship is created between the dancers. Through their movements, one pushes the other to discover his natural instinct. A vibrant journey of unconscious emotions, innocence and playfulness. While the physicality of "Manbuhsa" reminds us of the cranes whose bodies react simultaneously to the impulses given to each other, the agitation and precision may make us think of the peacock spider. 'Manbuhsa' is in some ways a study and transposition of these peculiar animal dances onto the human body.
MANBUHSONA
BY | PABLO GIROLAMI
with | Compagnia IVONA Clementine Herveux, Lou Thabart, Giacomo Todeschi, Pollet Kasza, Samuele Arisci
IN COLLABORATION | CID Rovereto - Festival Oriente Occidente, Amis du MDC - Melinda Stampfli - Neuchâtel
PRODUCTION | Centro Nazionale di produzione della Danza DANCEHAUSpiù, TWAIN_Centro di Produzione Danza Regionale, PERIFERIE ARTISTICHE - Centro di Residenza Multidisciplinare della Regione Lazio
duration 60'
"Manbuhsona" is an evolution. A couple becomes a community, "Manbuhsa" becomes "Manbuhsona", a day trip becomes the journey of a lifetime. We must regain our instincts and search our past for our foundations to be strong and stable. A journey through time, through space, that will connect our roots to our future.
We will immerse ourselves in nature and be inspired by the beauty of our surroundings. Furthermore, the personal challenges faced and relationships created will aim to build a community that will operate in symbiosis.
The piece is divided into two acts each consisting of three states.
Act 1: Confusion, Contemplation, Revelation
Act 2: Inspiration, Enlightenment, Discovery
Both acts are closely related and separated only by the interval. Since the end of Act 1 will be the beginning of Act 2, the audience will participate in the continuity of the journey. Each act can be performed independently, allowing the audience to imagine the beginning or the end of the journey.
T.R.I.P.O.F.O.B.I.A
BY | PABLO GIROLAMI
with | IVONA Giacomo Todeschi, Pablo Girolami
with the support of | KOMM TANZ Teatro Cartiera Progetto residenza, Compagnia Abbondanza/Bertoni in collaborazione con il comune di Rovereto
PRODUCTION | Centro Nazionale di produzione della Danza DANCEHAUSpiù
The medium through which a tripophobic skeleton is given shape is geometry, which, however, only thanks to the imaginative contribution of the human mind becomes an active gateway of fear, of anguish reflecting man's insecurities and paranoia. These are bottomless spaces where all awareness falls dizzily. One loses lucidity and one's eyes close.
Challenging a fear is not an easy game. Rather, it seems that playing the game implies accepting not to play at all.
With T.R.I.P.O.F.O.B.I.A, we choose to accept the challenge and make fun of it, turning ourselves into real parasites that creep into its tunnels.
We are two bodies that channel ourselves into the patterns to which this phobia refers. Moving in alternating and precise geometric shapes, we disentangle ourselves from the dark tunnels devoid of air and accompanied by elements 'other' than ourselves.