(a need that moves)

third step of the Sudvirus project by: Roberto Zappalà | idea by: Nello Calabrò and Roberto Zappalà |

choreography: Roberto Zappalà |

dancers CZD2 giovane compagnia zappalà danza: Corinne Cilia, Alys Davies, Aya Degani, Anna Forzutti, Gaia Occhipinti, Silvia Rossi, Joel Walsham |

costumes: Roberto Zappalà | choreography assistant: Fernando Roldan Ferrer | music: Franz Joseph Hayds, Matthew Herbert, Antonio Vivaldi, Niccolò Paganini, Ludwig Van Beethiven, Johann Sebastian Bach | sound effects: Salvo Noto | a production by: Scenario Pubblico / Compagnia Zappalà Danza – Centro di Produzione della Danza | the Sudvirus project was carried out in collaboration with: GoteborgsOperan Danskompani, Civitanova Danza / Amat and Fondazione Nazionale della Danza (Reggio Emilia) | with the support of: MIBACT and Regione Siciliana Ass.to al Turismo, Sport e Spettacolo.

Choreography from the repertoire of Compagnia Zappalà Danza, resumed for the dancers of the young ensemble CZD2.

2013 – 2017, the four years that separate the two dates (the absolute first and the “new” version) were those necessary for Roberto Zappalà to carry out an internal reinterpretation of his creation which from “Anticorpi” now takes a new title “Patria”. Zappalà changes the title of his work to give weight and relevance to those scenic / choreographic situations already present, and thus “re-read” the concept of homeland in light of the current situation where “globalization and immigration bring out all the fragility of democracies and values liberals, while populist pressures destabilize their political and social foundations “.

The choreographic language develops in a convulsive and meticulous score with the dancers of the company on the stage / slide that replicate and retransmit the apparent chaoticity of microscopic viruses; but, as in life, chaos is organized and the dancers disperse and move away from a whirling center and then return to it in search of a ground / landing place that is not only the one inside the stage but also the “sun” of an unjustly denied right. And, if in the laboratory contrasting liquids are often used to better discover and follow new paths of the material that one intends to analyze, in the same way, at home, a Bach prelude and a Sicilian tongue twister repeated like a mantra creep into the percussive fabric / obsessive electronic music to indicate new aesthetic and narrative paths. A creation about belonging declined by the body / voice of the dancers through those absolute manifestations of belonging that are the hymns; belonging that is inclusiveness and not by chance to national ones (Italian, French and English) contrasts the Hymn to the Joy of the Ninth not only as a hymn of the European Union but above all as a universal expression of brotherhood (“this kiss goes to the whole world “Says Schiller’s text”).

A warning against the “national rhetoric” as well as an exhortation to be on guard is the dialectal tongue twister, where even the apparently more banal action can have, in a progression to the apocalypse typical of Laurel and Hardy’s two-reel comedies, of the catastrophic consequences. A warning that concerns us all in our daily actions, and an exhortation not to forget the ending of “The invisible cities” of Calvin, hoping to always be able to distinguish in the hell / world around us “what hell is not, and give it space. ”

In Patria compared to Anticorpi, the aspect of the original “Sudvirus” project relating to belonging is strengthened, trait-dunion with the subsequent project of the choreographer “Transiti Humanitatis”. A belonging that is not exclusivity but participation, because “homeland” is a singular word but which should always be declined in the plural. As well as “humanity”.
Because, in some way, we are all exiles and “the homeland is not a physical place but a moving need” (Richard Sennett – “The foreigner”)