year 2005 duration 75'
from the project corpi incompiuti
choreography and direction Roberto Zappalà
music: Giovanni Sollima
lights and set Roberto Zappalà
costumes Leila Dato
photos Gianmaria Musarra
dancers Daniela Bendini, Rohanna Halls , Giulia Mininel, Wei Meng Poon, Salvatore Romania, Raquel Gualtero Soriano , Paola Valenti
Video, text, video direction Nello Calabrò
in video Carmelo Chiaramonte (chef), Mansur Gueye, Roberto Zappalà
a coproduction by
compagnia zappalà danza – Scenario Pubblico
in collaboration with Norrdans (Sweden), Teatro Giuditta Pasta di Saronno
Première: 19 november Catania, Scenario Pubblico
The creation ‘Ragoût’ is part of a bigger project called “Corpi incompiuti” on sensory perception, which started in 2003 and will end in 2006. After analysing the awkwardness of the body in “OB/sol.um”, the silence and the world of deaf people in “Ascoltando i pesci”, the sense of sight in “Rifarsi gli occhi”, “Ragoût” explores the sense of taste. Roberto Zappalà has already dealt with this sensual, intriguing yet disgusting and elusive sense, when he worked with Swedish company Norrdans, for which he created the first part of the project – entitled “I’m a good cook. Spaghetti anybody?”. This project, which premiered in Sweden in February 2004, but was never presented in Italy, will be completed by the company ensemble as part of a new exciting show for 7 dancers.
In the project on sensory perception, Zappalà dance company deals with arguably the most elusive of the senses – taste. Taste – together with smell and touch – is considered a minor sense as compared to sight and hearing; however, it covers a wide spectrum of definitions, ranging from sensuality, like/dislike to kitsch.
Behind the sense of taste lies food and behind food lies hunger; food and hunger form a strict union that speaks of the modern world, of the differences and waste within our modern world.
The performance stimulates while ‘questioning’ the spectators’ buds, acknowledging that if Luis Buñuel is right when he says that the need to eat does not necessarily imply prostitution in arts, it is nonetheless true that the need to eat implies prostitution tout court.
Dance is never forceful – it hints at and raises questions, in its purest and most abstract form. The performance, far from being narrative, includes heterogeneous elements that question the wide spectrum of taste – the most personal and mysterious of the senses – as both a sense and concept.