[PERFORMANCE ARTIST]

creation, dramaturgy Alessandro Sciarroni

folk-dancers Marco D'Agostin, Pablo Esbert Lilienfeld, Francesca Foscarini, Matteo Ramponi, Alessandro Sciarroni, Francesco Vecchi

sound Pablo Esbert Lilienfeld

video and images Matteo Maffesanti

lighting Rocco Giansante

costumes Ettore Lombardi

faith coaching Rosemary Butcher

dramaturgical consultant, casting Antonio Rinaldi

production manager Marta Morico

organization Benedetta Morico

press office Beatrice Giongo

administration Luana Milani

project curator, promotion Lisa Gilardino

choreographic consultant Tearna Schuichplattla

a production Teatro Stabile delle Marche - Progetto Archeo.S - System of Archeological Sites of the Adriatic Seas

co-funded by IPA Adriatic Cross-Border Cooperation Program

in collaboration with Corpoceleste_C.C.00#

supported by Inteatro, Amat-Civitanova Danza per “Civitanova Casa della Danza”, Centrale Fies, ChoreoRoam Europe: Centro per la Scena Contemporanea - Comune di Bassano del Grappa, The Place/London, Dansateliers/Rotterdam, Dance Week Festival/Zagreb, Certamen Coreográfico de Madrid

Folk-s is a performative and choreographic practice focusing on time. The work came to life while thinking about ancient folk dances as popular phenomena that have survived contemporaneity. The Schuhplattler is a typical Bavarian and Tyrolean dance. The meaning is “shoe batter” because it literally consists in hitting one’s shoes and legs with one’s hands. In Folk-s, this dance is conceived and executed to point to a pre-existent and primitive form of thought. Dance as a rule, a dictatorship, flux of images that follow the rhythm and the form, not the content. The form is rhythm, energy that is perceived through our ears, not the eyes, “eyeless”. Thus, for the performers of Folk-s, there’s no other time than the present, a time that is not-past and not-future. It’s the infinite insistence of the tide against the sand, the endless return of the same wave to the same shore. It’s sound. In the repetition, geographically and culturally decontextualized, the folk material finds its clearest revelation. In this loop of percussive actions, the introduction of anomalies and variations seems to refer directly to the iconography of religious rites, to a complex system of signs evoking festivals and martyrdom, in the presence of a new, elegant and cruel Exterminating Angel. This way, the folk and the popular, abstracted from their original sonic matrix, seem to wrestle each other until they fuse with the contemporary condition, perpetually fighting for their survival. (The Diary of Virginia Woolf, vol. III, 1925-30, a cura di Anne Olivier Bell, London 1982 and N.FUSINI, Introduzione, in V.WOOLF, Le onde, Giulio Einaudi Editore, Torino, 2002]

ph. Matteo Maffesanti