Rosinijeve uvertire/Rossini Ouvertures

režija, koreografija/direction, choreography: Mauro Astolfi
muzika/music: Gioachino Rossini
dizajn svetla/lighting design: Marco Policastro
kostimi/costumes: Verdiana Angelucci
koncept scene/set concept: Mauro Astolfi, Marco Policastro
konstrukcija scene/set construction: Filippo Mancini/CHIEDISCENA
direktor proba/rehearsal director: Alessandra Chirulli

premijera/premiere: Teatro Rossini, Pesaro, 2017
trajanje/duration: 71’

igrači/dancers: Lorenzo Capozzi, Alice Colombo, Maria Cossu,  Pablo Girolami, Mario Laterza, Giuliana Mele,  Caterina Politi, Aurora Stretti, Giacomo Todeschi

Čitanje tekstova Augusta Benemelja o životu Rosinija, o tom ‘organizovanom ludilu’, bilo je za mene duboko i gotovo zapanjujuće iskustvo. Istinski sam bio zaveden kontinuiranim ponavljanjem preslušavanja muzike neobuzdanog genija… U predstavi sam zamislio veliki zid, zid Rosinijevih sećanja iza kojih se krio… kuću u kojoj je bio domaćin svojim prijateljima i kolegama kompozitorima, ali i običnim ljudima sa kojima je voleo da se šali, igra i deli sve aspekte svog života. Zamislio sam “zid” kao projekciju njegovog uma, pun prozora, polica, skrivenih mesta – zid odvojen od jednog sveta.
U tom prostoru lutao je stanar, čovekolika figura, crna mrlja ljudskih karakteristika, koja je komunicirala s njim, uvukla se u njegove snove, ušunjala u njegov krevet, a zatim nestala, ali koja je uvek bila tu da podseti na podjednako ograničeno, koliko i na beskonačno vreme. Taj mrak je bio strah od smrti, njegova bolest, a možda i njegov saveznik, često paradoksalno jedina konstanta. U beskrajnim noćima, pateći od snažne nesanice, Rosini je počeo da živi u dva sveta koja su se povremeno približavala, gotovo dodirivala, a samo njegova sposobnost stvaranja, njegova strast za zadovoljstvima, mogli su na trenutak anestezirati ono što se dešavalo u njegovom telu i umu.     Njegova muzika je bila ekstremna, znak više sile i energije, a ja sam se istinski trudio da napravim koreografiju punu snage, vitalnosti, susreta, zavođenja, sugestija... Proveo sam mnogo vremena razmišljajući o tome kako prevesti genijalnost kompozitora u pokret. Nisam smatrao da je to slučaj u kome može pomoći apstrakcija. Tražio sam način da prenesem vibraciju muzike: bukvalno sam dopustio da se zanesem, i to je bilo sasvim jedinstveno iskustvo... “Organizovano ludilo” ... intenzitet, haos, užas, šizofreni beg ... ali u tom bežanju, on je stvorio nešto što se posle njega ne može ponoviti.

Reading the words of Augusto Benemeglio on the life of Rossini, on that “organized madness”, was for me, profoundly and absolutely illuminating. I was sincerely seduced in continuous, repeated listening to the music by such unbridled genius… In this performance, I imagined a large wall, the wall of Rossini’s memories behind which he was hiding… the house where he hosted his great friends and fellow composers, but also the everyday people he loved to joke with, play with and share all aspects of his life with. I envisioned this “wall” as a projection of his mind, full of windows, shelves, hiding places – a wall which separated one world from another. In this space roamed an occupant, an anthropomorphic gure, black, a stain which took on human similitudes, which communicated with him, which crept into his dreams, crawled into his bed and then disappeared, but which was always there as if to mark the short time, but also the lengthy time… This dark gure was the fear of death, his illness, but also perhaps his advisor, paradoxically at times the only constant.In his long nights, with
increasing insomnia, Rossini came to live in two worlds which at times drew closer, almost touching, and only his in nite ability to create, his passion for pleasure, were able to momentarily anesthetize what was happening in his body and his mind. His music was extreme, the mark of a greater force and energy, and I purposely tried to create choreography loaded with energy, vitality, encounters, seduction, suggestions… I spent a lot of time thinking about how to translate his compositional genius into movement. I didn’t feel it was a case of working on abstraction; I sought out and “felt” for how to convey the vibration of his music: I literally let myself be carried away, and it was an entirely unique experience… “Organized madness”… intensity, chaos, dismay, schizoid escape...but by escaping, he created something that never could be repeated after him.

Mauro Astolfi

Nakon dugog boravka u Americi, Mauro Astolfi je 1994. godine osnovao trupu Spellbound u Rimu, koju vodi zajedno sa Valentinom Marini. Danas je ova kompanija inspiracija za mnoge mlade i dolazeće koreografe, prisutna na međunarodnoj sceni kao kombinacija Astolfijevog ličnog portfolija sa tehničkom perfekcijom njegovih igrača i visokim kvalitetom produkcija. Pored rada za Spellbound, Astolfi je postavljao originalne koreografije za brojne kompanije poput BalletX-a, Baleta Segedina, Baleta Rima, Baleta Lajpciga, Izraelskog baleta, Nacionalnog baleta Kolumbije... On takođe radi kao pedagog u celoj Italiji, ali u Cirihu, Londonu, Amsterdamu, Tokiju i Njujorku. Od 2016. godine je imenovan za gostujućeg pedagoga savremene igre u Baletskoj akademiji u Rimu.

After a long residency in America, Mauro Astolfi established his Spellbound in Rome, in 1994, company which he runs together with Valentina Marini. Today, the company  acts  as an inspiration for many young and emerging choreographers and is currently well presented at the international scene having combined Astolfi’s personal portfolio with the technical excellence of his dancers and the quality of productions. Beside his work for Spellbound, Asolfi has created original works for numerous other companies such as BalletX, Szeged Ballet, Balletto di Roma, Ballet Leipzig, Israel Ballet, National Ballet of Colombia... He also teaches extensively all around Italy, as well as in Zurich, London Amsterdam, Tokyo and New York. Since 2016, he is appointed guest teacher for contemporary dance at the Ballet Academy in Rome.

Spellbound je 1994. godine osnovao Mauro Astolfi. Sa jakim ansamblom igrača, trupa uživa poziciju jedne od najboljih italijanskih trupa sa međunarodnom reputacijom koja se gradi na vodećim festivalima u Evropi, Aziji, SAD i Latinskoj Americi. Preko 20 godina, kompanija je nudila seminare i radionice, a proces je kulminirao uspostavljanjem Fakulteta umetničke igre - DAF u Rimu, pravoj fabric kulture, važnoj za formiranje brojnih mladih igrača i koreografa. Od 2000. godine, trupa je podržana od strane Ministarstva za kulturnu baštinu i aktivnosti Italije.

Spellbound was founded in 1994 by choreographer Mauro Astolfi. With the strong ensemble of dancers, Spellbound enjoys a position of one of the best Italian companies of international reputation builded at the major festivals in Europe, Asia, USA and Latin America. Over 20 years, the company wasoffering seminars and workshops, a process which culminated with the establishing Dance Arts Faculty – DAF in Rome, a real cultural factory, important in formation of many young and emerging dancers and choreographers. From 2000, productions of Spellbound have been supported by theMinistry of Cultural Heritage and Activities and Tourism.

Astolfijeva uzbudljiva koreografija je vid izuma.
Astolfi exhilarating choreography is a model of invention.
© Ballet Review U.S.A

Igrači takve kameleonske okretnosti, nisu nas samo opčinili, već i oduzimali dah.
Dancers of such chameleon-like suppleness, they were not only spellbinding, but breathtaking.
© The Philadelphia Inquirer


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