ZEROGRAMMI
REPERTOIRE
STEFANO MAZZOTTA
ALCESTI (O DEL RUMORE DEI PENSIERI)
Suite Alcestis is a rewrite of "Alcestis" by Euripides, a project started in 2014.
The story of Euripides' heroine is divided into distinct and complementary chapters directed by choreographer Stefano Mazzotta, three creations that deal with recurring themes in the literature of all time: farewell love, sacrifice and death. Does the idea of sacrifice still exist in contemporary pedagogy? Are we still able to feel the poetry of "farewell", though no longer used to the feeling of remoteness? What is love in the era of "liquid" society?
Alcestis gives shape and sound to these questions, using poetry, the language of beauty and pain, the language of salvation and hope, a universal language able to transcend ages and cultural differences.
The first chapter of the work debuted in Germany in April 2014 in collaboration with the State Theatre in Osnabrueck. The debut of the second chapter will take place in 2015.
progetto, regia e coreografie / project, direction and choreography Stefano Mazzotta | assistente coreografo / assistant choreographer Miroslak Zydowicz | con / with Vasna Felicia Aguilar, Saori Ando, Etienne Aweh, Chris Bauer, Keith Chin, Gustavo Gomes, Christopher Havner, Hsiao-Ting Liao, Noemi Emanuela Martone, Amadeus Marek Pawlica | costumi, scene e disegno luci / costumes, scenes and light design Stefano Mazzotta | assistente costumista e scenografa / sets and costumes Theresa Schmerge | direttore di scena / stage director Christian Schubert | luci / lights Dieter Hallmann, Ludger Wamhoff | trucco/make up Barber Albrecht, Andrea Jasper | in collaborazione con / in collaboration with Theater Osnabruek | con il sostegno di / with the support of Regione Piemonte, MIBAC
(...) Jede noch so kleine, beredte Fingergeste, jede der schnellen, geschmeidigen Tanzfiguren, im Pas de deux oder in der Formation strahlt die emotionale Gewissheit dieser Liebe und dieses Selbstopfers aus. […] ,Es ist, was es ist’ sagt die Liebe hier mit Erich Fried. Und was die Tänzer in ihren jeweiligen Landessprachen beitragen, klingt nicht weniger entschieden.
Christine Adam, Neue Osnabrücker Zeitung
