“I Float, I Drown, I Float” sets Italian contemporary dance free out of the darkness.
Atacama Company deals with a life’s events: its representations match with the diverse expressions of dance theatre.
Floating on the whirl of suspended energies which return and hurt. Moving unsteadily along trajectories, directions, goals whose culmination is their interruption: a contact upsets the situation, reverses reality and takes us in a more intimate and psychological consideration.
It is like drowning in a pile of layers that reveal themselves: the sound attracts the dancers who use up their own reason by deconstructing movements, splitting and fragmenting, stripping them in such an analytical way. This examination fades with the arising spontaneity of expressions embodied by mimic gestures, surprising vocal motions and a definitely carnival and circus style: this arising effect is hectic and eccentric. And we float once again. “I Float, I Drown, I Float” by Atacama Company presents on stage a circular dialogue which go through life phases as episodes: a complex and wide subject that the choreographers Patrizia Cavola and Ivan Truol turn to action, trying to understand the matter through its display and never claiming to state a truth.
Atacama Company works on creating a field of research that may include the multidimensional possibilities of expression: dance theatre is here given the chance of overcoming its borders, thanks to the collaboration with quite different dancers, each of them endowed with a remarkable expressive talent. Valeria Baresi, Anna Basti, Ilaria Bracaglia, Cristina Meloro and Marco Ubaldi show on stage their clear characterization which defines their role within the piece, and this reveals their considerable training as well as the directors’ work.
This is a work that reminds us how fruitful and persevering this dance research can be, because we must admit that contemporary dance is damaged by the cuts to the culture sector more than other artistic fields: being reduced to an additional branch of theatre, secondary and dependent from its traditional and academic forms, contemporary dance and dance research are still mostly unconsidered; still, it keeps unsteadily developing and working underground, trying to provide a ground to that future which may hopefully give it the deserved independence. At Teatro Vascello Atacama Company allows us to be enthusiastic: will the Institutions realize that probably Romantic Ballet can give way to a form of dance which is really related to our times, which is dense, material and critical?
Anna Pozzali
Teatro / Visti da noi
