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THE RISK OF THE FUTURE
by Gigi Cristoforetti

Nowadays, people rarely speak about future, risk or dream. Yet what is to be expected from a cultural project? I hope I’ll be able to reconcile to a certain form of beauty, closer to the sun than to a wine cellar: a melancholy beauty, ready to indulge in emotions, to release the moorings and get lost in unknown lands, from which we no longer wish to come back. I want a culture capable to nourish my desire for seduction, which should never be passive. (Thomas Erber ).
Therefore, while we live the 2013 festival between the Ballet de Marseille (in the year of Marseille, European Capital of Culture) and the expected performance of Anne Teresa de Keersmaeker with Boris Charmatz, we begin to open a window to the future and we announce the project that will bind Torinodanza and the Biennale de la Danse de Lyon from 2014.
The risk that we take coincides with the dream to grow the binomial Turin as well as Dance at the international level. The 2014 festival will be the beginning of a path that will not only test our programme, but which will open for the active participation of schools and associations of dance and circus of the territory. Meanwhile, here we are in 2013, a year in which three themes intersect.
A strange beauty is the section of the visionary unleashing of the most interesting artists, who can create aesthetic emotions. We can mention Emio Greco and Olivier Dubois with the Ballet de Marseille (13,14,15 September), the return of the Cedar Lake (September 21 and 21) and Karine Ponties (19 October). Then, the musical gesture is represented by the final show Partita 2, by de Keersmaeker / Charmatz (13 and 14 November), searching for the inventive and necessary sense in the relationship between music and choreography.
Finally, we anew a theme beloved by the public with the magic body, which refers to contiguous and fascinating worlds as the contemporary circus and the nouvelle magie (Plan B,7,8,9 November , and Le soir des Monstres, 25 and 26 October ).
A rich program, in which we also find Ambra Senatore(resident artist of Torinodanza, on October 3) and the three appointments of the RiC.CI project, dedicated to the reconstruction of the Italian choreography of the 80’s (12 and 13 October). Finally we are very proud of our important collaborations with Teatro Regio, Unione Musicale, Settembre Musica, Torino Spiritualità and il Circolo dei Lettori.

Fonderie Limone Moncalieri – Sala grande
September 13, 14 and 15, 2013 | Italian première – 09:00 p.m. (length 30’)
DOUBLE POINTS: EXTREMALISM
Choreography: Emio Greco  | Pieter C.Scholten
Scenes, lights, sound: Pieter C.Scholten | Emio Greco
Lights: Henk Danner
Costumes: Clifford Portier
12 Dancers
Ballet National de Marseille
In co-production with the International Choreographic Arts Centre (ICK) / Emio Greco | PC (Amsterdam)

Fonderie Limone Moncalieri – Sala grande
September 13, 14 and 15, 2013 | Italian première – the following show (length 40’)
ÉLÉGIE
Choreography:  Olivier Dubois
Choreography assistant : Cyril Accorsi
Lights :  Patrick Riou
Music :  Richard Wagner Elégie WWV 93 en la Bémol, François Caffenne
16 Dancers
Ballet National de Marseille
in co-production with COD / Compagnie Olivier DUBOIS
co-creation MP2013 (Marseille-Provence 2013 – Capitale Européenne de la Culture)
performances included in the MITO SettembreMusica and created in collaboration with FranceDanse 2013, Institut Français Italia/ Ambassade de France en Italie, Nuovi mecenati Fondazione Franco-Italiana per la Creazione Contemporanea, Institut Français, MP2013 (Marseille-Provence 2013 – Capital Européenne de la Culture) and Torino incontra la Francia

Torinodanza opens the new edition by hosting two productions of the prestigious Ballet National de Marseille, founded in 1972 by Roland Petit and directed since 2004 by Frédéric Flamand. The Belgian choreographer has directed the company toward the overcoming of the separation between classical dance and contemporary dance. He threw a bridge between ballet and architecture, plastic and visual arts. It is  an artistic expression, whose natural development is the result of the collaboration with famous architects. As far as productions are concerned, the Ballet National de Marseille has enriched its repertoire with the work of important choreographers such as William Forsythe, Lucinda Childs, Nacho Duato and more recently Emio Greco, Pieter C. Scholten and Olivier Dubois. Emio Greco and Pieter C. Scholten have developed an artistic universe full of tension and synchronicity, and have melted together elements of classical and postmodern dance. The curiosity toward the body and its deepest motivations, which was the origin of their collaboration in 1995, has become a new language, where the rigor of the research is combined with the minimalism, and for which the word “extremalism” was coined. With Double Points: Extremalism, a creation for the Ballet National de Marseille, Greco  and Scholten have revisited their work, a “story of the flesh”  full of a peculiar theatricalism, of  touching and energetic movements, where the structural discipline of dance is continuously enriched with eccentricity. Emio Greco, an Italian choreographer and Pieter C. Scholten, a Dutch film director, founded the dance company Emio Greco | PC in 1996 in Amsterdam. Torinodanza has followed their career and staged some of their most important creations, such as the trilogy inspired by the Divina Commedia (Hell, Purgatorio Popopera, You Para | Diso). The company, winner of prestigious international awards, gave rise to the International Choreographic Arts Centre Amsterdam (ICKamsterdam), which was officially launched by Emio Greco & Pieter C. Scholten in 2009. The center is the seat of international  and interdisciplinary workshops and  seminars, which are devoted to reflect on the dance and to support new talents. The French choreographer and dancer Olivier Dubois, among the top 25 dancers in the world according to the magazine “Danse Europe” has come to dance at the age of 23, after having experienced different sports and musics.
Despite this abnormal debut he has danced for Angelin Preljocaj, Karine Saporta, Jan Fabre, Nasser Martin-Gousset  and for two months in Las Vegas with the Cirque du Soleil and Celine Dion. In 2006 he creates the award-winning “Pour tout l’or du monde” (Prize of  the French Critics Association for the creation and interpretation; Prize Jardin d’Europe 2008 in Vienna) on commission of the Festival d’Avignon, where he is back in 2008 with the Fauna(s) project taken from L’Après-midi d’un faune by Nijinsky. Dubois teaches and holds numerous workshops in a wide variety of contexts, including the National Opera House in Vienna, Athens National School, Cairo Opera House, Troubleyn/Jan Fabre and Ballet Preljocaj. In 2009 he created and directed Révolution for 12 dancers from Bolero by Maurice Ravel and Spectre for the Ballet of Monte Carlo in 2010.
L’homme de l’Atlantique, a tribute to Frank Sinatra, was presented in 2010 at the Biennale de la Danse de Lyon. The new creation of Olivier Dubois, Élegie will  be staged at the Torinodanza festival after making its debut in Marseille on August 28, 2013.

Fonderie Limone Moncalieri – Sala grande
September  21 – 22, 2013 ? Italian première – 09:00 p.m. [length 24’]
INDIGO ROSE
Choregraphy: Ji?í Kylián
Costumes: Joke Visser
Scenes: Ji?í Kylián
Original light design: Michael Simon
Light design readaptation:  Kees Tjebbes (Nederlands Dans Theater II, 2005)
Video/camera: Hans Knill
Video/editing: Rob de Groot
Choreography assistant: Amos Ben Tal, Aurelie Cayla
Music:  Robert Ashley, Factory Preset (1993); François Couperin, from L’Apothéose de Lully, Plainte des Memes (1725); John Cage, from Three Dances for Two Prepared Pianos, Dance No. 1 (1945); J.S. Bach, from Das wohltemperierte Klavier, Fuge No. 8 in E Flat Minor
Interpreters: to be defined
Cedar Lake Contemporary Ballet
World première: November 11, 1998, Nederlands Dans Theater (NDTII), Lucent Danstheater, L’Aia (Paesi Bassi)

Fonderie Limone Moncalieri – Sala grande
September 21 – 22, 2013 ? the following show [length 18’]
TEN DUETS ON A THEME OF RESCUE
Choreography: Crystal Pite
Lights: Jim French
Costumes: Junghyun Georgia Lee
Choreography assistant: Alexandra Damiani
Music: Cliff Martinez – Music from the original soundtrack of the movie Solaris
Interpreters: to be defined
Cedar Lake Contemporary Ballet
World première: January 10, 2008, New York City (U.S.A.)

Fonderie Limone Moncalieri – Sala grande
September 21 – 22,  2013 ? Italian première – the following show [length to be defined]
HORIZONS
Choreography: Andonis Foniadakis
Music:  Julien Tarride
costumi Tassos Sofroniou
Lights and Scenes: Mikki Kunttu
Interpreters: to be defined
Cedar Lake Contemporary Ballet
World première: May 7, 2013, The Joyce Theater, New York City (U.S.A.)

Cedar Lake Contemporary Ballet
Founder:  Nancy Laurie
Artistic director:  Benoit-Swan Pouffer
Executive director:  Greg Mudd
Ballet master: Alexandra Damiani
Company Manager:  Elizabeth Patrick
Production director: Andrew Cappelli
Production stage manager: Renata Braga de Almeida
Director of Development: Marietta Ulacia
Audio Video Supervisor: Dave Rogge
Technical director: Kurtis Rutherford
Lighting Designer:  Jim French
Costume Coordinator:  Kelli Haase
Distribution: Margaret Selby, CAMI Spectrum
Dancers:  Billy Bell, Jon Bond, Nickemil Concepcion, Vânia Doutel Vaz, Jason Kittelberger, Joseph Kudra, Ana-Maria Lucaciu, Navarra Novy-Williams, Guillaume Quéau, Matthew Rich, Ida Saki, Joaquim de Santana, Acacia Schachte, Rachelle Scott, Jin Young Won, Ebony Williams
Shows in MITO SettembreMusica

The Cedar Lake Contemporary Ballet is  brilliant, daring and world famous. It has catalysed the attention of the spectators of Torinodanza festival 2012 with two nights of  sold out. For the new edition we feel the same expectation that we experienced with the arrival of the ensemble, founded by Nancy Laurie. The Ballet has   multilingual features and is open to choreographic and heterogeneous contributions. The spectators of Torinodanza will enjoy three outstanding performances, starting from Indigo Rose, one of the most famous ballet of the successful career of Ji?í Kylián: a dazzling show with seductive dancers, impeccable technique, an unusual scenography and the music of John Cage.
Ten Duets on a theme of a Rescue, by Crystal Pite, are ten pas de deux surrounded by a ring of light and  animated by a soundtrack that includes music from Solaris. A deep survey in pure Pite style, which questions the meaning of the simple gestures,  which is “analysed in fragments now repeated now distorted now suspended”.
The Greek choreographer Andonis Foniadakis,  after  his studies at Rudra Bejart Lausanne in Switzerland has created choreographies for some of the most prestigious realities of contemporary dance. His career, which is mainly expressed in Europe, led Foniadokis to work on his new creation with the Cedar Lake Ballet.”

Teatro Carignano
September 27, 2013 ? 09:00 p.m. [length 50’]
LA BEAUTÉ DU DIABLE
Creation, choreography and dance: Koffi Kôkô
Music: Achille Acakpo (song, percussions) Janos Crecelius (percussions),
Moussa Coulibaly (percussions)
Lighting design:  Peter Göhler
Distribution:  Christiane Uekermann (feirefitz)
Production: Koffi Kôkô in co-operation with feirefitz
Show in collaboration with Torino Spiritualità
From tradition to creation. So it could be summarized the spiritual and artistic research of the performer, dancer and choreographer of Benin Koffi Kôkô. He is the forerunner  of the modern scene of the African dance in Europe, which expresses itself in an original synthesis between black roots and western culture. His artistic studies are a true initiation to dance, passed through the animist rites of  his native region and the Nago-Yoruba culture , which relive within the shamanism power emanated by an original language of the body. A way to express mysteries, which cannot be expressed in words. The legacy of an “oracle” dance is the expression of  the divine wisdom and  finds a new life when Koffi Kôkô, moves from Benin to Paris and then to New York. Here he got in contact with great artists such as Peter Goss, Yoshi Oida as well as with the Dance Schools of Katherine Dunham and Alvin Alley. Koffi Kôkô will be present at the Torinodanza Festival with his last solo, La Beauté du Diable, which deals with the paradox of life, the human and universal duality of good and evil. Koffi Koko comes from a culture where the concepts of good and evil are regarded as an inseparable expression. Hence he questions the Judeo-Christian perception, which separates them.

Fonderie Limone Moncalieri – Sala grande
October 3, 2013 | 08:30 p.m.  [length 60’]
JOHN
Idea:  Ambra Senatore
Choreography: Ambra Senatore
In collaboration with: Matteo Ceccarelli, Elisa Ferrari, Marc Lacourt
On stage:  Matteo Ceccarelli, Elisa Ferrari, Marc Lacourt
Lights:  Fausto Bonvini
Music and sound project: Igor Sciavolino
Music:  Brian Bellot, Serge Gainsbourg, Yukari Ito, Igor Sciavolino, Antonio Vivaldi
Production: Aldes
in co-production with Réseau National des CDC [Le Cuvier d’Artigues – près – Bordeaux – CDC d’Aquitaine, CDC – Les Hivernales d’Avignon, Art danse CDC Dijon Bourgogne, L’échangeu CDC Picardie, Le Pacifique, CDC – Grenoble, Danse à Lille, CDC Roubaix – Nord Pas de Calais, CDC Paris Réseau (Atelier de Paris – Carolyn Carlson, L’étoile du nord, micadanses – ADDP, studio Le Regard du Cygne – AMD XXe), CDC Toulouse/Midi – Pyrénées, CDC du Val-de-Marne, Uzès danse CDC], L’arc scène nationale Le Creusot, Scène Nationale Besançon, Château Rouge Annemasse, Torinodanza, Fondazione del Teatro Stabile di Torino, Armunia/Festival Inequilibrio in collaboration with il Centro il Grattacielo di Livorno
with the support of  Ministero per i Beni e le Attività Culturali – Direzione Generale per lo spettacolo dal vivo, Regione Toscana – Sistema Regionale dello Spettacolo
special thanks to Caterina Basso, Tommaso Monza, Andrea Roncaglione

Ambra Senatore has a playful look that strikes the human nature tout court and remains clear in John, away from the feminine essence of  “A posto” and from the game of identity, which is ironized in  “Passo”. Who is John? During the period that preceded the staging of this new creation, the interpreters and Ambra Senatore shared a daily body and verbal language made of gestures, words and  characters. The name of John was chosen as it is one of the most popular name in the English-speaking area. Ironically Ambra Senatore names the character John, sometimes she changes  his name, while she is giving  his name as a title to the show. John is a game, a mechanism in which the spectators are called to participate in. The game makes us reflect on our human nature and our way of life. The joyful and vital presence of the interpreters is the crossroad between real life and fiction within a punctual and refined construction,  a positive surreal speech on the human being. Choreographer and performer, she works between Italy and France. From 2004 and 2008 she has been the author of solos  which stem from the physical observation of simple usual events and portray the point of view on reality with humour. Since 2009 she creates group shows in which motion dynamics with theatrical elements and the  usual gestures are melted together. She explores the construction of a dramaturgy that passes through the actions and the presence of the bodies. Her ironic work evocates a fragmented reality, which merges with her questioning on the theatrical fiction as well as on the nature of the kind of show. She worked with Giorgio Rossi, Jean Claude Gallotta, Georges Lavaudant (Teatro Odéon, Parigi), Marco Baliani, Antonio Tagliarini, Roberto Castello. She is one of ALDES associate choreographers.

Cavallerizza Reale – Maneggio
October 12, 2013 | 07:00 p.m. [length 55’]
USDUM
Choreography : Claudio Bernardo
Interpreters: Milton Paulo, Claudio Bernardo
Scene and music: Luc d’Haenens
Musical arrangements: Daniel Tursch
Soundtrack: indigenous Xingus  and Bororos tribal songs, Brasilian national anthem, , Pensa em mim Leandro and Leonardo, Beata Viscera Pérotin, Saint John Passion Johann-Sebastian Bach
Texts taken from the  Lamentations of Jeremiah
Lights:  Marco Forcella
Costumes: Estelle Wanson
Management: Nathalie Kamoun
Promotion: Léonore Guy
As Palavras-cie Claudio Bernardo
In collaboration with  Indigo and  the Atelier Sainte Anne
with the support of the Ministry of the French Communioty Wallonie-Brussels – Dance Sector
with the support of Wallonie-Bruxelles International (WBI) as well as  Wallonie Bruxelles Théâtre Danse (WBTD)

Brazil, the birthplace of Claudio Bernardo, was often a source of inspiration for the artist. Among its major successes Usdum, (1991 choreography) is the show that first showed the incredible capacity of Bernardo to create links between subject and age that may seem far away at first sight. The choreographer and performer has reread Shakespeare from the point of view of the colonization of Brazil (Heart of the Storm) because Usdum already linked the Brazilian largest gold mine (Serra Pelada) with Sodom salt mountain (see Caspar, Melchior and Balthazar by Michel Tournier).  The social and literary references transform this work in a hymn of love, in which the cruelty, the beauty and the humor are encountered and all is  wrapped up in an eclectic  sound context.  Claudio Bernardo was born in Fortaleza in Brazil. He began to work in his homeland. Then he moves  to Europe, where he works with Mudras, then with the Company Plan K by Frédéric Flamand and receives his first awards. In 1996, after five years at the Théâtre de l’Atelier Sainte Anne in Brussels, he founds the Company As Palavras-Cie.
Claudio Bernardo is currently residing at Théâtre Varia in Bruxelles!. Since then he concentrated primarily in the choreography and also danced in many of his creations.

Fonderie Limone Moncalieri – Sala grande
October 12, 2013 | 9:30 p.m. length 50’]
RIC.CI Project | Reconstruction  of the  Italian Contemporary Choreography in the 80’s and 90’s
idea and artistic direction: Marinella Guatterini
artistic direction assistant: Myriam Dolce
CALORE (THE HEAT)- 1982/2012
direction, chorégraphie, scenography, costumes:  Enzo Cosimi
soundtrack: Enzo Cosimi
musics: Glenn Branca, Benjamin Britten, Liquid-Liquid, Chris Watson, African pop music
light design: Stefano Pirandello
lights:  Gianni Staropoli
apparel: Gianni Serra
jewels: Cristian Dorigatti
performers: Francesco Marilungo, Riccardo Olivier, Francesca Penzo, Alice Raffaelli
organization: Maria Paola Zedda
1982 production: Compagnia Occhèsc
2012 reconstruction: Compagnia Enzo Cosimi
shows  produced in collaboration with Amat – Associazione Marchigiana Attività Teatrali, Arteven Circuito Teatrale Regionale Veneto, Teatro Pubblico Pugliese and in co-production with  Fondazione del Teatro Grande di Brescia, Fondazione Fabbrica Europa per le arti contemporanee, Fondazione Milano Teatro Scuola Paolo Grassi, Fondazione Ravenna Manifestazioni, Fondazione Teatro Comunale di Ferrara, Torinodanza

Calore is the first of the three proposals of the RIC.CI Project | (Reconstruction  of the  Italian Contemporary Choreography in the 80’s and 90’s ) idea by Marinella Guatterini and carried forward by nine Ialian Theaters – choreography by Enzo Cosimi, enfant terrible of the Italian dance in the 80s. One of the best expressions of the Italian contemporary ballet, he studied at the  Mudras of Béjart. Guest Choreographer for the Teatro alla Scala in Milan and the Teatro Comunale of Florence, he performed with his company  in the most important theaters and festivals.
His first show Calore  debuts in Rome in september 1982 at the Amphitheater of the Parco dei Daini in Villa Borghese: basic theme, “The desire to capture the momentum of youth, through an impudent, but at the same time innocent writing of the body”. The show is set on a vigorous energy and at a steady pace and was studied for non-dancers interpreters. The show is a visionary quest where a process of regression is required and it serves as a track to draw an age of endless childhood and adolescence.  Thirty years after the sensational debut, Calore, (the most emblematic work of Cosimi’s poetics), puts in motion a bodily and mental transmission to search for a contact with the ideas and the codes of the new generations.
This is a real sound and visual explosion, where the celestial color, that is so dear to the author, symbolically represents the opening to heat and compulsion in contrast to the conceptual  and glacial atmosphere at the end of the 70s.
Calore is one of the cornerstone works in the history of the Italian dance research, the number one choice of Marinella Guatterini for the RIC.CI Project , recovery program of the repertoire of the Italian contemporary choreography.

Fonderie Limone Moncalieri – Sala grande
October 13, 2013 | 07:00 p.m. (length 60’)
RIC.CI Project | Reconstruction  of the  Italian Contemporary Choreography in the 80’s and 90’s
idea and artistic direction: Marinella Guatterini
artistic direction assistant: Myriam Dolce
LA BOULE DE NEIGE – 1985/2013
Taken from Les enfants terribles by Jean Cocteau
Direction and choreography : Fabrizio Monteverde
Musics and direction: Pierluigi Castellano
Texts: Francesco Antinucci
Songs of opera taken from  L’Orfeo (1672) by Antonio Sartorio
Musicians: Patrizia Nasini (voice), Antonio Leofreddi (violin), Valerio Serangeli (electric bass),
Alfredo Santoloci (tenor and soprano saxophone), Mike Applebaum (Trumpet, flugelhorn, baroque trumpet), Pierluigi Castellano (Synthesizers, keyboards, bass clarinet, choirs, and electronic percussions)
Recorded and mixed music: Paolo Modugno and Massimo Terracini, in 1985 , at the Oasi Studio in Rome
Remastering: Pierluigi Castellano
Costumes: Gianni Serra
Light creation: Carlo Cerri in collaboration with Andrea Narese
Originally interpreted by Fabrizio Monteverde (Paul), Francesca Antonini (Elisabeth), Marco Brega (Gérard), Patrizia Piccinini (Agathe)
Characters and interpreters:  Mirko De Campi/Nicola Simonetti (Paul), Claudia Manto/Debora Di Biagi (Elisabeth), Luca Cesa/Valerio Di Giovanni (Gérard), Alessandra Berti/Marta Papaccio (Agathe)
1985 production:  Spaziozero/Compagnia Baltica
2013 reconstruction: Balletto di Toscana Junior directed by Cristina Bozzolini
shows  produced in collaboration with Amat – Associazione Marchigiana Attività Teatrali, Arteven Circuito Teatrale Regionale Veneto, Teatro Pubblico Pugliese a1nd in co-production with  Fondazione del Teatro Grande di Brescia, Fondazione Fabbrica Europa per le arti contemporanee, Fondazione Milano Teatro Scuola Paolo Grassi, Fondazione Ravenna Manifestazioni, Fondazione Teatro Comunale di Ferrara, Torinodanza

Third production of the RIC.CI Project /| (Reconstruction  of the  Italian Contemporary Choreography in the 80’s and 90’s ) and second event of Torinodanza festival, La Boule de Neige is a 1985 choreography by Fabrizio Monteverde. It was danced  by the Baltic company and  is now entrusted to the Balletto di Toscana Junior. Monteverde began its activities in 1976 as an actor and assistant director, and at the same time he studied with Carolyn Carlson, Moses Pendleton and  Daniel Lewis at the Professional Centre for  Contemporary Dance in Rome. The “plot” of this work is inspired by one of the most famous and difficult texts by Jean Cocteau, Les enfants terribles, that is surprisingly up to date and modern for the description of the motions and the pulses of adolescence. La boule de neige is the story of a brother and a sister, Paul and Elisabeth, their love, their fate. Marinella Guatterini writes:  “La Boule de Neige is the starting point of a new trend of the Italian contemporary dance. It is a style that differs much from the research of pure energy such as you can feel in Calore by Enzo Cosimi (1982) or in the visionary and post-modern transfiguration of Duetto by Virgilio Sieni and Alessandro Certini (1989). “Les enfants terribles ” of the Compagnia Baltica reflected themselves roughly  in the four “cursed” protagonists by Cocteau”. Today, the reconstruction of the choreography, entrusted to the dancers of the Company Balletto di Toscana Junior, directed by Cristina Bozzolini, provides ad hoc choreographic changes.

Cavallerizza Reale – Maneggio
October 13, 2013 | 09:30 p.m. (length to be defined)
RIC.CI Project | Reconstruction  of the  Italian Contemporary Choreography in the 80’s and 90’s
idea and artistic direction: Marinella Guatterini
artistic direction assistant: Myriam Dolce
TERRAMARA – 1991/2013
Choreography: Michele Abbondanza
With: Eleonora Chiocchini, Francesco Pacelli
Musics: J. S. Bach, G. Yared, S. Borè and music of the popular tradition
1991 production:  Drodesera, Centro Servizi Culturali Santa Chiara
2013 reconstruction:  Compagnia Abbondanza Bertoni
shows  produced in collaboration with Amat – Associazione Marchigiana Attività Teatrali, Arteven Circuito Teatrale Regionale Veneto, Teatro Pubblico Pugliese a1nd in co-production with  Fondazione del Teatro Grande di Brescia, Fondazione Fabbrica Europa per le arti contemporanee, Fondazione Milano Teatro Scuola Paolo Grassi, Fondazione Ravenna Manifestazioni, Fondazione Teatro Comunale di Ferrara, Torinodanza
with the support of the Ministero per i Beni e le attività Culturali – Dipartimento Spettacolo, Provincia autonoma di Trento – Servizio attività culturali, Comune di Rovereto – Assessorato alla Contemporaneità, Regione autonoma Trentino – Alto Adige, Cassa Rurale di Folgaria – Filiale di Rovereto

In 1988 the meeting of Michele Abbondanza  and Antonella Bertoni in Paris marks the beginning of an artistic collaboration that leads to the foundation of the Company Abbondanza Bertoni.  Michele Abbondanza studies in New York with Carolyn Carlson and is among the promoters of one of the fundamental experiences for the Italian choreography: the foundation of  the company Sosta Palmizi in 1984. In these years, the dancer-choreographer is noted by public and critics. Furthermore, the new born Company Abbondanza Bertoni  is  one of  the Italian companies that has been able to provide entertainment for an extremely enlarged audience and won the ETI/Stregagatto Award 97/98 with Romanzo d’infanzia. Their first show as an artistic pair and a couple was performed in 1991: Terramara.
Francesca Pedroni describes it as: “a love story danced as a daily commitment – a feeling to be played not only in the time of secret lovers, but in the time of common labor. Baskets full of oranges to be emptied and filled with, faggots of straw to be moved, sunlit imaginary fields to travel during the months of the harvest. A dance of glances and contacts, where “terramara” (From the latin “terra mala”, i.e. deposits of fat and blackish land, made of the leftovers of vast prehistoric sites) creates the image of a centuries-old stratification of the creative nature (the hundreds of oranges turned upside down on the stage) from which we source and to which we shall return”.
Terramara is the third time of the RIC.CI project.

Cavallerizza Reale – Maneggio
October 18, 2013 | Italian Première – 08:30 p.m. [length 55’]
HOLEULONE
Idea and choreography: Karine Ponties
Interpreters: Eric Domeneghetty, Jaro Vinarsky
Artistic and animation collaboration: Thierry Van Hasselt
Lights :  Florence Richard
Music :  Dominique Pauwels
Scenes : Wilfrid Roche
Text: Mylène Lauzon, Eric Domeneghetty
Lighting technician and technical direction: Guillaume Fromentin
Audio video supervisor:  Benjamin Pasternak
Production: France Morin
Production:  Dame de Pic / Cie Karine Ponties
in co-production with Théâtre Les Tanneurs, LOD, Centre Chorégraphique National d’Orléans – direzione Josef Nadj, l’Echangeur de Fère-en-Tardenois, le 3 bis f. lieu d’arts contemporains, Ponec Divadlo
with the support of Brigittines, Settore danza della Fédération Wallonie-Bruxelles
La Compagnia Dame de Pic / Cie Karine Ponties is financed by Ministero della Cultura della Fédération Wallonie-Bruxelles – Settore danza and is supported by  Wallonie-Bruxelles International (WBI)
The administrative residence of  the Compagnia Dame de Pic / Cie Karine Ponties is the Théâtre Les Tanneurs of Bruxelles
Show with the support of Wallonie-Bruxelles International (WBI) and  Wallonie Bruxelles Théâtre Danse (WBTD)

Holeulone: a sound that ravages in whirling movement, a poetic fusion of body and drawing. Inspired by the science fiction the Flowers for Algernon by Daniel Keyes, the show is a clinch between two dancers, who are so perfect in their expression to seem a single body. The choreography redraws the mental path of Charlie, the protagonist of the book, who is a human guinea pig for an out of the ordinary experiment and is the victim of its consequences.  On the stage the movements of dancers retrace the crisis of the protagonist, the changing rhythms of his thoughts, real and imaginary memories, clarity and confusion of his perceptions. Then his twin appears. It is as a kind of unbearable mirror of the condition of discomfort of the human being: accelerations and decelerations of thoughts and heart prevent the mind to act with awareness.  The entanglement of thoughts, memories and emotions are chasing each other in a lunar landscape, with the mediation of Thierry Van Hasselt’s  graphics and Dominique Pauwels’ music. In 1995,  after her studies at the Mudra of Béjart, the French choreographer creates the company Dame de Pic / Cie Karine Ponties and receives immediate awards (award Pépinières européennes pour jeunes artistes, 1996). Her creations have been staged at the Helsinki Theater Dance Department, Lod in Ghent, Montreal Danse, The Petite Fabrique in Paris, Transdance Europe 03-06. Mirliflor has received the Golden Mask  2011 in Russia for the best performance of contemporary dance. Karine Ponties has connoted her own creations with her taste for the absurd, her need to explore the interpersonal relationships and to strengthen the emotional impact of the choreography with the support of music, visual art and cartoon. Artists of different expressive signs worked together. They gave life to performances with the rare form of energy that expands during the development of an idea.

Fonderie Limone Moncalieri – Sala grande
October 25 – 26 , 2013 | Italian Première – 08:30 p.m.  [length 60’]
LE SOIR DES MONSTRES
Interpreter, writer and magic creation: Etienne Saglio
Magic creation and writing: Raphaël Navarro
Lighting design: Elsa Révol
Outer look: Albin Warette
Scene director: Marine Class
Lighting director: Nicolas Joubaud
Music: Swod
Administration, production, diffusion ay-roop – Géraldine Werner and Olivier Daco
productione Monstre(s)
in co-production and with the support of Scène nationale de Petit Quevilly Mont-Saint-Aignan, Carré Magique Scène conventionnée de Lannion-Trégor, L’Entre-Sort de Furies – Châlons-en-Champagne, Culture Commune Scène nationale du Bassin Minier du Pas-de-Calais, Cirque théâtre d’Elbeuf, Association Bourse Beaumarchais – SACD, DRAC Bretagne
thanks to Atelier 231 – Sotteville-lès-Rouen, Opéra National de Paris, Théâtre du Soleil
show designed on March 10 2009 at the Scène nationale de Petit Quevilly Mont-Saint-Aignan
great thanks to Philippe, Amélie, Marion and Pierre, Clément, Valentine, Madeleine
show in collaboration with FranceDanse 2013, Institut Français Italia / Ambassade de France en Italie, Nuovi Mecenati Fondazione Franco-Italiana per la Creazione Contemporanea, Institut Français, Torino incontra la Francia, Teatro a Corte – Fondazione Teatro Piemonte Europa and  il Circolo dei lettori

The spectators of Torinodanza are welcome to the enchanted world of Etienne Saglio, who is magician, juggler and master in handling. This young artist of  the Centre National des Arts du Cirque plays on the distortion of reality and borrows the gothic atmospheres of Tim Burton. Everything happens in a sort of attic full of old things, where a hermit lives, who is interpreted by Etienne Saglio: he is wrapped in a cloak, seated on a broken chair and he produces balls of yarn. He repeats inexorably the same gestures: cutting, twisting, rolling, up to discard all in a rusty trash. When the night falls, however, unusual phenomena happen. The balls move, jump, live a life of their own. Menacing skeletal shadows  soar in the room. To our amazement, Saglio is now  victim,  now accomplice of the objects, which animate “Le soir des monstres”. Etienne Saglio is a juggler and a magician, who studied at the school of circus arts NACC Chalons en Champagne.

Fonderie Limone Moncalieri – Sala grande
November 7 – 8 – 9,  2013 | 08:30 p.m. [length 70’]
PLAN B
Aurélien Bory / Phil Soltanoff
With Mathieu Bleton, Itamar Glucksmann, Jonathan Guichard, Nicolas Lourdelle
Idea and scene: Aurélien Bory
Direction: Phil Soltanoff
Originally interpreted by: Olivier Alenda, Aurélien Bory, Loïc Praud, Alexandre Rodoreda
Lighting design: Arno Veyrat
Music:  Phil Soltanoff, Olivier Alenda, Aurélien Bory
Music extras: Ryoji Ikeda, Lalo Schiffrin
Repeaters: Olivier Alenda, Loïc Praud
Video installation: Pierre Rigal
Costumes: Sylvie Marcucci
Scenography: Christian Meurisse, Harold Guidolin, Pierre Dequivre
Painter: Isadora de Ratuld
Sound director: Joël Abriac
Lighting director: Carole China
Scene director: Thomas Dupeyron in alternativa con Sylvain Lafourcade
Administration, production, diffusion Florence Meurisse, Christelle Lordonné, Marie Reculon
production Compagnie 111 – Aurélien Bory
in 2003 in co-production with Théâtre Garonne – scène européenne, Toulouse – Théâtre de la Digue, Toulouse – Le Train Théâtre-Scène conventionnée, Portes lès Valence
with the support of Centre de Développement Chorégraphique de Toulouse, Midi-Pyrénées Service culturel Ambassade de France, New-York, TnBA-Théâtre National de Bordeaux en Aquitaine
in 2012 in co-production with Le Grand T – scène conventionnée Loire Atlantique, Nantes – Théâtre du Rond-Point, Paris
with the support of Théâtre Garonne – scène européenne, Toulouse – TNT – Théâtre national de Toulouse Midi-Pyrénées, L’Usine – lieu conventionné arts de la rue, Tournefeuille
with the support of Ministère de la Culture – Direction Générale de la Création Artistique e Direction Régionale des Affaires Culturelles Midi-Pyrénées, Région Midi-Pyrénées, Conseil Général de la Haute Garonne, Ville de Toulouse, Convention Institut Français – Ville de Toulouse, ADAMI
Compagnie 111 – Aurélien Bory has the support of the Ministère de la Culture et de la Communication – Direction Régionale Midi-Pyrénées, Région Midi-Pyrénées and  Ville de Toulouse
Compagnie 111 – Aurélien Bory received the support of Foundation BNP Paribas for the development of its projects
Compagnie 111 – Aurélien Bory is associated with Grand T – scène conventionnée Loire Atlantique, Nantes
Show created in January 2003  at the Théâtre Garonne, Toulouse
Show planned in collaboration with FranceDanse 2013, Institut Français Italia / Ambassade de France en Italie, Nuovi Mecenati Fondazione Franco-Italiana per la Creazione Contemporanea, Institut Français and Torino incontra la Francia

Plan B is a show that plays with the spirit of adaptation of the human beings, whose certainties  are daily undermined by a  swirling change world. Four men in jacket and tie, four yuppies, who defy the gravity on an inclined plane which look as if it were floating. Suddenly the plane straightens out, it becomes a wall where the dancers -acrobats fight against the laws of physics and are almost free to soar a liberating flight… In Plan B we find the fundamental elements of the theatre by Aurélien Bory: a living  scenography as an installation and a strong acrobatic dance for a vision of the dramaturgy, which is open to contemporary, cinematographic and  circus arts. Plan B is the second part of a triptych of the Compagnie 111, which began with IJK, and engages the director and an expert in acoustic physics Aurélien Bory as well as the  New Yorker  director Phil Soltanoff. From his innate passion for juggling, Bory  has developed a “physical theatre”, who lives of the intersections between the performing arts (theatre, circus, dance, visual arts, music … ).
Plan B (2003) and Più o meno infinito (2005) have been created  with the collaboration of Phil Soltanoff.
For Torinodanza festival 2009 Bory has directed Pierre Rigal in Érection.

Fonderie Limone Moncalieri – Sala grande
November 13 – 14, 2013 | Italian Première – 08:30 p.m. [length 90’]
PARTITA 2
Sei solo
Choreography: Anne Teresa De Keersmaeker
Interpreters: Boris Charmatz, Anne Teresa De Keersmaeker
Music: Partita No. 2, Johann Sebastian Bach
Violin: George Alexander van Dam
Created with:  Amandine Beyer, George Alexander van Dam
Scenes: Michel François
Costumes: Anne-Catherine Kunz
Artistic assistant : Femke Gyselinck
Artistic coordination: Anne Van Aerschot
Technical coordination: Joris Erven
Production: Rosas
With the support of Musée de la danse – Centre chorégraphique national de Rennes et de Bretagne
In co-production with La Monnaie – De Munt (Bruxelles), Festival d’Avignon, Les Théâtres de la Ville de Luxembourg, Kunstenfestivaldesarts (Bruxelles), ImPulsTanz (Vienna), La Bâtie – Festival de Genève, Berliner Festspiele, Théâtre de la Ville con il Festival d’Automne di Parigi, Fundação Calouste Gulbenkian (Lisbona)

A spontaneous improvisation session early one morning in 2010, on the empty stage of the Celestin Convent in Avignon, brought to light the evidence of the natural artistic bond between Anne Teresa De Keersmaeker and Boris Charmatz. Both share a love for choreographed structure and a need for the freedom of improvisation. It’s through the living architecture of the music of Bach’s Partita No.2, played live on stage by George Alexander Van Dam, that Anne Teresa De Keersmaeker’s choreography takes form. Both artists seek out the dance inherent in the music, conscious of Bach’s mastery, yet not overly reverential.Boris Charmatz is a Frenchh contemporary dance choreographer and dancer.He  is considered to be one of the leaders of the French new wave.The Flemish Anne Teresa De Keersmaeker had her debut in the early 80’s. Now she is a resident artist at the Teatro La Monnaie in Brussels with her own company Rosas.The space-time search, the gestural recurrence and the music are her expressive features, where you can feel the influences of Lucinda Childs and Pina Bausch.The great international success arrives with Rosas Danst Rosas in 1983, a masterpiece which is still in repertoire and was  welcome by an enthusiastic success at Torinodanza  in 2010.In 1995 P.A. R. T. S. (Performing Arts Research & Training Studios) is founded to disseminate the Rosas heritage to young generations of the company dancers.It animated the Focus Al femminile of Torinodanza 2011 with Bartók / Mikrokosmos and Cesena. Partita 2 – Sei solo will debut at the Kunstenfestivaldesarts of Brussels on May 3, 2013.