Press Review

On a stage with no scenery, in the darkness of a symbolic night, a glimpse of exhausted bodies can be caught. They are probably adrift on a imaginary inflatable raft. Hopeful souls intersect, hoping to land on a supposedly safe shore. Desperate clandestines almost seem to be involved in an ancient and terrible propitiatory rite, including deaths and painful sacrifices, with visions of apocalyptic misfortune, to reach a promise land that will inevitably impose new exploitation, tribalism and vexation.
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A show like “Migrants”, by Atacama Dance Company, proposes interesting ideas for reflection, and not just because the title itself declares a commitment to a social cause.

Social commitment is frequent in theatre, though most of the time such frequency ends up in sterile rhetoric, which is doubtfully useful in terms of artistic results.

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Migrants is the new production by the Atacama Dance Company, which has been active for years in Italy and worldwide. This year, from June 23^rd  to 25^th, on the stage of Tor Bella Monaca Theatre, the choreographers Patrizia Cavola and Ivan Truol have chosen to deal with a very frequently discussed topic of our times: migration and all social issues deriving from it.
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Walking through the thick wood on a path twisting among the fronds, and being heading for getting lost. Being alone before the darkness of that thick vegetation, maybe defenceless, and equipped with a double edged weapon: curiosity. Quivering with suspense and having the sensation of being chased by something lying in the shadow, ravenously following any odour left as a track. Being mired in imminent danger.
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The show was performed on September 23^rd at the Florian Espace Theatre in Pescara, within the CORPOGRAFIE 2016 festival. The work is about inner search, a journey through feminine stereotypes where we can find ourselves again in our body and with our body.

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“I, Her, Me” is a solo interpreted by the dancer Valeria Baresi which gathers elements from the previous three productions by Atacama, the Roman dance company directed by Patrizia Cavola and Ivan Truol.

A woman, whose face is hidden behind a tin box, dances on the interrupted words uttered by Patrizia Hartman: an intermittent interpretation of concealed femininity, ensnared but evoked in every single movement.

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A wardrobe mirror in the centre of the stage is the element around which the performance develops: “As a Child Abandoned in the Wardrobe Mirror” is a dancetheatre work created by Patrizia Cavola and Ivan Truol, loosely based on Daniel Pennac’s novel “Diary of a Body”. One by one, the seven performers burst into the stage, each with their peculiar gestures and way to reflect both their physical appearance and especially the image of themselves.

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She walks around it, nearly scared, a rag doll held close to her chest; insecure eyes probe the darkness, curious legs of a child do not cease to search. She approaches it to inspect its features, her gaze focused beyond that unlit rectangle in a blue frame. The wardrobe in Granny Faustina’s bedroom is a childhood fantasy that tickles adults, a light euphoria to experience in the rhythm of murmured but constant shouting. Little adults cross its boundary, to reach a dimension where they discover themselves for the first time, moment by moment, with no shyness.
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Atacama’s dance gives rise to physical, pictorial and visionary poetry, with strong interactions of sound.

Variations of arms, evolutions of legs, palpitation of breaths, subtle research of images and physical poetry: this is the flow of I Float, I Drown, I Float … Visions beyond any narrative purpose, with the experimental electronic scores of Epsilon Indi.

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Strings of tiny white lights hang on the backdrop while, on the stage, small coloured lights form a ring, suggesting circular movements. The perception of space becomes limitless. Words enter unexpectedly and their task is to make explicit simultaneously two different ways of seeing things, of perceiving nature and life, the solution of which is probably the union that is implicit in the pure love relationship. The dancers let their bodies go, drowning and coming to the surface again.
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