Prova aperta de I AM BEAUTIFUL

Open door of performance I AM BEAUTIFUL
4th step of the project Transiti Humanitatis by Roberto Zappalà
WORLDPREMIERE 18 March Teatro Comunale "Claudio Abbado" of Ferrara
an idea by Nello Calabrò and Roberto Zappalà
choreography and direction Roberto Zappalà
original music Puccio Castrogiovanni
Played by Lautari:
Puccio Castrogiovanni (electric mandolin, kanklės, percussions, sound effects, voice)
Salvo Farruggio (drums, cajon and percussions)
Marco Corbino (guitars, cajon)
Gionni Allegra (bass, guitars, cajon, voice)
Salvatore Assenza (wind instruments, cajon)
dance and collaboration
Maud de la Purification, Filippo Domini, Sonia Mingo, Gaetano Montecasino,
Fernando Roldan Ferrer, Adriano Popolo Rubbio, Ariane Roustan, Claudia Rossi Valli, Valeria Zampardi
I AM BEAUTIFUL, the new creation planned for March 2016 at TEATRO COMUNALE OF FERRARA, will mark the arrival at destination of the project Transiti Humanitatis. Here the “humanity” of humanism and of the “studia humanitatis” (15th-century literary studies aimed at training a person), are obviously, in Roberto Zappalà’s interpretation, the “studia” of the body and gestures transformed within a choreographic universe that treats the body as a founding element and inevitable transit of a new humanism.
The apparently paradoxical source of inspiration for the beauty evoked and explored in Roberto Zappalà’s new creation for Compgnia Zappalà Danza is the absolute and eternal immobility of stone (gypsum).
The immobility of Rodin and his works. This is the beauty of the dancer’s body, which is the beginning of everything and within which everything is worn out and used up.
The almost eternal immobility of Baudelaire’s “dream of stone”, the inspiration for Rodin’s statue, is transfigured in the body, in bodies, in movement.
For Zappalà, laying the body bare – in the figurative as well as the literal sense – equates to laying the human heart bare (to go back to Baudelaire), through a language that has its own grammar and syntax in the nerves and joints, in the quivering and starts of the body.
The body thus becomes a map for decrypting society, and through corporeality and the paradox of its “universal narcissism”, man reveals himself and his place in society.
Zappalà stages a humanity that is simultaneously everyday and universal: gestures, the body, their story, their transformation in time and space – or conversely, their immutable permanence. He presents his very own factory of emotions, which uses gestures, codified to varying degrees, to investigate “humanity”, without presuming to be definitive or exhaustive but from unusual or personal but nevertheless universal angles and points of view.
The intention is to try and use dance to tell the story of corporeality and human identity and thus human beauty.
As Stendhal says, “To know man you need only know yourself; to know men, you have to spend time with them” and “you have to have a body to find a soul” (1).
(1) From Soltanto [Only] by Jan Twardowski
a production by Scenario Pubblico / Compagnia Zappalà Danza – Centro di Produione della Danza
Transiti Humanitatis is a project in collaboration with
ImPulsTanz – Vienna International Dance Festival
Teatro Comunale "Claudio Abbado" di Ferrara
Teatro Garibaldi/Union des Théatres de l’Europe (Palermo)
Teatro Massimo Bellini (Catania)
with the support of
Ministero per i Beni e le Attività Culturali e Regione Siciliana Ass.to del Turismo, Sport e Spettacolo
(photo Lorenzo Gatto)