music Frédéric Chopin (24 preludi per pianoforte)

 

 

With “24 préludes”, last production of the articulated project “Corpi incompiuti”, on which Roberto Zappalà has been working from 2002 to 2006, the choreographer returns to pure dance and he resumes the choreography “Foulplay” – produced in 2005 and inspired by “Play” by Samuel Beckett– to touch topics like love, madness and death with the various strings of his dance.

 

In order to close the project on the perception of the senses “Corpi incompiuti” , we arrived at the moment which defines the absolute immobility of the body; the “peace”, which is undoubtedly the death, but on the other hand it reminds madness with an apparent paradox. A territory of madness where the senses are in peace with themselves because they have achieved their climax, they don’t want and /or cannot change, evolve, get away from the achieved position.

And if madmen (some, all?) dance their madness, so perhaps only pure dance can “represent” their world, their peace of the senses.

 

“…in 24 préludes Zappalà attacks the aphorisms of Chopin’s music for the need to return to pure dance and he invites to concentrate the attention on the body of his dancers in a bare space and on the psychophysical anomalies – that is , of the gesture – in an everlasting dance. On stage a chaotic, lively, brilliant dance blazes up, full of stiff lines contaminated by tics and out of balance. 24 preludes is a sharp project : it doesn’t renounce at all to correlate its “diseased” dance, which gets attractive with the shake of the bodies, in their awkward and beastly movements, to the music, moony and furious, sensual and frigid, joyful and tragic…” Marinella Guatterini, Il Sole 24 Ore

 

“. Nothing more classical than the 24 Preludes of Chopin.. for this reason, what Roberto Zappalà made and unmade of the 24 preludes is amazing, disarming, incontestable. He takes those lyrics in black and white, those “golden dreams” as Liszt liked to say, and he sows them on the Land of madness and in the bodies of seven overpowering dancers, who make ripped stories from them, without time and end … Rivers of applauses and ovation, at the end. To desecrate is easy, to consecrate in “another” way is of artist” Carmelita Celi, La Sicilia