PROMETEO – oltre il fuoco

Conception and choreography Patricia Apergi, Raphael Bianco, Marco chenevier, Salvatore Romania
Choreography Assistants Eva Georgitsopoulou, Laura today, Elena Rolla
Maitre de ballet Vincenzo Galano
Music Gravitysays_i, György Kurtág, Godspeed You Black Emperor, Trigg & Gustet
Lights Enzo Galia, Sancio Sangiorgi
Costumes Born in Berlin, Raphael Bianco, Melissa Boltri

Production commissioned by Raphael Bianco to three choreographers with a strong contemporary imprint: Patricia Apergi, Salvatore Romania and Marco Chenevier. “Prometeo – oltre al fuoco” is the third step of the Trilogy of Civilization, conceived by Raphael Bianco, and was preceded by two creations (Orlando and Faust) by the same choreographer who, on this occasion, takes to him only a short piece.
The theme of the show is Prometheus, declined to its symbolic, archetypal and social value with all the relative aesthetic, ethical and social reflections on which the different works of the choreographers are centred. From the contemporaneousness of Patricia Apergi, a Greek choreographer with a strong and political sign (already a guest of the Interplay Festival), to the great energy of Salvatore Romania, to the theatrical coreutical contamination by Marco Chenevier and the vision of Raphael Bianco.

CHOREOGRAPHY Patricia Apergi

Inspired by the myth of Prometheus, this work has as its central theme the sacrifice that synthesizes itself on issues of contemporary politics and poetry. It originates from mythological roots, but dances on contemporary needs and concerns. Who are the rebels today? When an action makes us heroes? Where is hope hidden? What is the price to pay for dreaming, giving or sharing? How can I turn an act of generosity into a better future? The narrative of the famous poem is transformed into a vital theme for the stability of democracy. Fire is the symbol. Heat is the target. The choice is the weapon. The instruments of the composition pass through a dense atmosphere of contrasts, calm, violence and repetition. The story is fragmented. Reborn from collective memory, as our cultural heritage. He speaks for choices, visions and dreams. reflects the ideal. He refuses the self and builds the poetica.

STEEL ORCHID – il fuoco liberato

“I wanted to share, with some colleagues I estimate, a reflection on the myth of Prometheus, in this third and final chapter of my Project Trilogy of Civilization (which has already seen explored the characters of Orlando and Faust). As far as I’m concerned, there are many questions and thoughts. Who is Prometheus today, what is the weight of the choice to rebel by endangering one’s own life and that of those close to us, sacrifice for a cause is already a victory? I want to reflect on the path of a choice of rebellion to its most extreme outcome, not so much to describe the reality of the surface, but to fathom in-depth the mysterious, contrasting and irreversible motions of the soul of those who offer their lives for Free the community. Many are the characters that embody the modern Prometheus, from Gandhi to Martin Luther King, but for this work, I was inspired by a woman: Aung San Suu Kyi, Burmese leader for non-violent resistance against the military regime that oppressed her country and whose nickname is: Steel orchid – Gold Orchid. Prometheus is a woman’s body that is sung, a mantra for freedom whispered and declined with passion, lightness and firm determination. The fire is not stolen but freed against all forms of oppression: In the name of civilization, peace and justice.

(Raphael Bianco)

CHOREOGRAPHY Marco Chenevier

“I tried to identify the founding traits, devoid of the tragic mechanisms (especially the scapegoat research), only to be able to once again distort the sound of these lost words. I then created an accumulation of icons up to the real sculptural groups, inspired by the Greek-Latin iconography, transforming the movement into an icon. The collection is completed with a choral landscape in which the mechanism of the tragic scapegoat is recalled with the sequence of two female solos, composed on the musical variation of the song in which a pulsation appears strongly reminiscent of a Procession, a march or the preparation of a religious ritual. The fire that arises in the next scene is once again posing on the dramaturgy of the soundtrack for the two final pictures. The sequence evolves to form the last choral icons, in the white scene, as a photographic set, buying then the sense that at the beginning could be contrary to the formal proposals, going to close the circle with some photographic icons, Nude and subversive, recovering the first spirit of voguing and its critical reach.

(Mark Chenevier)

CHOREOGRAPHY Salvatore Romania

The myths of antiquity have and always will have something to teach, even to the man of post-modernity. Perhaps or especially to the man of post-modernity, lost in an infinite space where labyrinths of images, messages, stimuli, commercials and goods to be purchased as absolute imperatives alternate relentlessly, leaving him often confused and looking of a strong and solid identity, of a certain road to follow. As Zeus in the mythical tale, today, the decision-making power, financial and economic, wants to remove the fire from the men condemning them to a fate of fall towards the animality. The individual totally annihilated, scourged by his fears, seems lost as a shipwreck dispersed in the great global Sea. It requires, perhaps, a new humanism, an awakening, a renewed fervour that motives consciously of the privileged position of man in the world of nature.