HADES

"We bury things so deep we no longer remember there was anything to bury.   Our bodies rememberOur neurotic states remember. 

But we don't" - Jeanette Winterson

CONCEPT and CREATION: Luana Rossetti (2017/2018)

PERFORMANCE: Luana Rossetti

SOUND and LIGHT DESIGN: Luana Rossetti

TEXTS: Luana Rossetti

DRAMATURGY: Ming Poon

PIECE LENGHT: 45 min. version / 20 min. version

SUSTAINED BY: MiBACT

PRODUCTION HOUSE, TOUR SUSTAINMENT: Movimento Danza - Gabriella Stazio

CO-PRODUCTION SUPPORTER: Anja Kozik - Waschhaus Potsdam and Oxymoron DC

SUBSIDISED BY: Circuito CUNAE, Gap.Change.Now

WINNER of diverse choreographic contest 2017/ 2018

WINNER OF: "Residanza 2017/2018 - La casa della nuova coreografia, per il rinnovo generazionale di talenti / the house of the new choreography - for the generational renewing of talents" & other Prices

                                                                                                              Dedicated to my dear father -  (1946 - 2018)

A strict self portrait full of paradoxes. The investigation frames facets of this male God concealed behind this woman's body, set in the society of today.

This woman full of demons fights herself in a world which strikes wretched and the femininity as commodity trading.

A piece which gives up to all the beautiful lies, a performance which embodies what is sunk in each of us, those unseen fragments of self, the cultural walls we are forced to face.

This woman`s journey through her disambiguation doesn`t find any redemption, but herself, her courage and perseverance which carry on the performance through movements and discoveries of real facts, so strong to leave the audience breathless.

The performer faces her innerself in an authentic confrontation.

It is violence and blindness, passion and strength, protection, and a latent pleasure. The lies, the secrets, the personal truths never shared, the rage - the tenderness.

The performer explores sections of diverse psychological phases she had to go through after having being abused, as Stockholm syndrome and self-damage and her redemption, those are recognisable through her deep body language.

In this project the executor is in a direct relation with her hidden memory, in correlation with her instinctive bursts and unconscious character deviations, sometimes deleterious aftermaths.

The performer incites emulations and recalls of experienced and suffered moments; her contorted personality transits between moments of violence longing and pleasant chaos.

This woman throws reference points without explaining her stories, in greed of melancholic moments, alternating it with explosive, short and unnatural corporeal language.

The vehicle of understanding are metaphorical and not directed, the audience is led to comprehension through performative choices and references.

The movement's research translates into a corporal language personal experiences we bury so deep until no longer having the memories about.

The wish is to give an image, a way out to these neurotic states, through body vocabulary and metaphors.

Research, practice and purpose in the discovery of new ways of visual and perceptional expression. In this section my need is to share the methods of approaching the creation, the translation of emotions and memories into motion, the abstraction of the codified movement, the Freudian Transfer - as a method of approaching movements sources, the development of the mise en scéne as an oeneiric subject and the creation of the "timeless zone".

 PASSW. H453S