FARE ALBERO

On 29 October 2012 in the beautiful gardens of Villetta Di Negro in Genoa, the third edition of Luoghi Comuni takes shape. This is a Euro-regional contemporary dance project that involves the production and circulation of four new urban dance creations thanks to the partnership of seven important Italian and French organizations, which promote the dissemination of this art form through artistic proposals capable of meet the public in everyday places. The site-specific creations revolve around three different themes: the street and dance, France and Italy, art and cities. For this edition "the trees" have been chosen as a "common place" of performance. The event debuted in Genoa and then moved to Villeurbanne (Lyon), Turin and Marseille. The project is based on the desire to transform what is known into something innovative, with the aim of making artistic creation an increasingly accessible language. The desire and intention of many artists is to leave the canonical places dedicated to the live arts, to renew their creations by adapting them to urban contexts, to address an audience and a non-public, to deal with local authorities, urban planners, inhabitants. The artists involved support the need of contemporary dance to come into contact with new contexts, confronting the urban space. The French choreographer Frank Micheletti with Comme La Main s'enruole explores the sensations that a moving body can generate in relation to the force of gravity and the contrast between the strong grounding and the aspiration to fly, exactly like a tree carrying in itself an extraordinary ascensional power. The paradoxical but fundamental relationship between lightness and weight is also at the center of Jordi Galì's creation 22 Cailloux; in this case the tree becomes a symbol for a search that not only involves the dancer's body but comes into contact with the viewer's gaze and aspires to make explicit the tensions that can be produced beyond the dancer's know-how. Bodies in tension are also those of Stefano Mazzotta and Emanuele Sciannamea, of the Zerogrammi Company, predisposed to a dripping of stillness that borders on sacrifice; with serenity, in Fare Albero, the  artists deprive themselves of the irrepressible desire for movement to welcome, on the contrary, the expectation of nothing, the ascetic silence, with all the inevitable grotesque ironic consequences of chance. A more philosophical glimpse is instead that proposed by Marta Bevilacqua who in Daphne seeks a contemporary foray into the myth of this wild figure transformed into a laurel to escape the love of Apollo. With the contribution of Elena Cavallo's sculptural installation, the language of dance gives life to an ancient history, through color, gesture and the power of nature; an irrationality of the myth that searches for traces of nature in the artificial world.