Fisica dell’aspra comunione
dance by the Compagnia Mòra
choreography by Claudia Castellucci
music by Olivier Messiaen,
with an apex by Stefano Bartolini
dancers Sissj Bassani, Silvia Ciancimino, René Ramos,
Francesca Siracusa, Pier Paolo Zimmermann
pianist Matteo Ramon Arevalos
technical direction, lights Eugenio Resta
technicians Francesca Di Serio, Gionni Gardini, Caterina Soranzo
production director Benedetta Briglia
organisation Camilla Rizzi
photo Nicolò Gialain
This dance passes through a series of movements deduced from Olivier Messiaen’s Catalogue d’Oiseaux, composed for piano between 1956 and 1958 , following a long period of observation and transcription of birdsong. The vocal production of birds creates rhythms that lead to the contemplative and non-mensural interpretation of this dance. It is not possible to rely on a schematic memory, because the rhythms are unpredictable. And yet, the freedom of birdsong can be taken as a model and ‘learned’, provided that one experiences this dance with a sense of remaining in the ‘now’, with no regard to measure, attentive to rhythm alone. What we intend to learn from birds is their inclination towards events that always take place in the present, with no projections aimed towards future targets, with a full consummation in the ‘now’. One also has the impression that each part of birdsong has an equal value, in terms of importance, and this leads to a sense of absolute continuity, which no interval nor rest can interrupt.
The Dancers of the Fisica dell’aspra comunione now take this continuity as their model, and must thus avoid the slightest break or technical pause, as when a singer takes a breath. They consume the dance thanks to decisions that are quicker than verbal language, in which the time of willing becomes entirely united with their actual, physical and environmental reality, fully identifying with the ‘now’. They consume the ‘now’, to remain much longer than an instant in every instant. So, a negotiation takes place between intelligence and adventure. And when we grasp, like Messiaen, the hidden life of birds, from one branch to the next, we also realise that when these feathered beings fly, they only move “forwards”: this indicates the continuity of their line of movement and the frankness involved in both remaining and moving to face the other.