Il combattimento di Tancredi e Clorinda

Il combattimento di Tancredi e Clorinda

Teatro Padiglione Italia Osaka
22 September H 18.00
, ,

CCN/Aterballetto is at Expo 2025 Osaka with Il Combattimento di Tancredi e Clorinda.

Italian Pavilion Theatre, September 22–24–25, 2025 at 6:00 pm

Thanks to the support of the Emilia-Romagna Region, CCN/Aterballetto takes part in Emilia-Romagna Week at Expo 2025 Osaka with Il Combattimento di Tancredi e Clorinda.

 

On stage at the Italian Pavilion Theatre, the story of love and death told by Torquato Tasso in Jerusalem Delivered (1575) and set to music by Claudio Monteverdi (1624) comes to life. The performance, created by Fabio Cherstich and Philippe Kratz, is interpreted by dancers Alessia Giacomelli and Kiran Gezels.

https://youtu.be/mjZQdcn1fgc

Direction and Visuals: Fabio Cherstich
Choreography and Stage Movement: Philippe Kratz
Music: Il Combattimento di Tancredi e Clorinda by Claudio Monteverdi (recorded music by Matteo Straffi, tenor, and Deniel Perer, harpsichord)
Dancers: Alessia Giacomelli, Kiran Gezels

Co-production: Fondazione Nazionale della Danza / Aterballetto, Teatro Regio di Parma / Festival Verdi, Torinodanza Festival – Teatro Stabile di Torino – Teatro Nazionale, Ghislierimusica – Centro di Musica Antica

Il Combattimento di Tancredi e Clorinda is a project for the promotion of live performance in museums and cultural heritage sites, supported by the Directorate-General for Museums and co-financed by the Directorate-General for Performing Arts.

For the implementation of the project, the National Museums of Perugia – Regional Directorate of National Museums of Umbria – and in particular the National Archaeological Museum and Roman Theatre of Spoleto, with the support of the Directorate-General for Museums, have established a partnership involving five other major cultural venues: Villa Pisani in Stra, the Castle and Park of Racconigi, the Swabian Castle of Bari, the Certosa di San Martino in Naples, and the Archaeological Park of Venosa. In addition, Castel Sant’Angelo in Rome will host the initiative as part of the summer festival Sotto l’angelo di Castello.

 

The project is part of Italia Danza, a co-designed initiative by the Directorate General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs and CCN/Aterballetto, aimed at promoting Italian artistic heritage abroad.

In my vision of Il Combattimento di Tancredi e Clorinda, I imagine a confined, circular space, where proximity and the likeness of bodies play a fundamental role. Together with choreographer Philippe Kratz, we explore the idea of bodies as mirrors, thus narrating a humanity in conflict with itself. Eros and Thanatos emerge as equally powerful forces, creating a paradoxical atmosphere in this perfectly balanced struggle between human beings. In our vision, Tancredi and Clorinda are contemporary warriors, indissolubly bound to one another, compelled to fight and to enact a story already written.

A single voice will give life to three characters: the text itself, Tancredi, and Clorinda will merge into the body and sound of one singer. This estranged sound, constrained by a circular path, creates a sense of constant repetition, emphasizing the endless cycle of this tale of love and death—destined, tragically, to repeat itself through the centuries and to reach us with all its force, as an emanation of Tasso’s poetic power and Monteverdi’s sublime music.

Fabio Cherstich, Director

In Tasso’s tale, set to music by Claudio Monteverdi, the most obvious themes are the struggle between man and woman and religious conversion, but these are also the aspects I find least intriguing: when adapted into dance, they risk becoming a mere narration of factual circumstances.

A more philosophical or psychoanalytic reading of this struggle—one from which both protagonists emerge defeated, deceived, and solitary—strikes me as far more compelling. Within the opposition of the two roles lies an entire world: the search for one another, the confrontation, the wounding of each other. The dynamic is that of a warlike, conflictual ritual between two entities drawing close. The absurdity of the act becomes clear when one of the two loses their life, and we realize that the other, in any case, has not won… a deep, shared wound remains, inscribed on both bodies. So, are they two people fighting one another, or perhaps one person struggling with themselves?

Philippe Kratz, Choreographer

 

 

Notte Morricone – open session

Notte Morricone – open session

Fonderia Reggio Emilia
22 September H 18.00
, ,

CCN/Aterballetto – Notte Morricone – ph. Claudio Montanari

Aterballetto’s first open rehearsal of the 2025–26 season, offering the chance to meet the company’s new dancers.

On Monday, September 22 at 6:00 pm, Aterballetto welcomes its audience into the rehearsal room of the Fonderia to the notes of Notte Morricone by Marcos Morau. During the open rehearsal, the three new dancers who have joined the company—Gador Lago Benito, Gaia Mentoglio, and Luigi Civitarese—will also be introduced.

Open rehearsals are unique occasions where the audience can witness the making of a performance, engage in dialogue with the artists, and be surprised by the art of dance: a special opportunity that opens the door to the daily life of dancers and choreographers.

 

TICKETS

Full price: €3
Free admission: under 6

TICKET PURCHASE

ONLINE: https://www.biglietteriafonderia39.it/home.aspx
Fonderia Box Office: opens one hour before the performance (via della Costituzione 39, Reggio Emilia).

Tickets are unreserved (general admission).

CONTACTS FOR RESERVATIONS

Phone & WhatsApp: +39 334 1023554
Email: biglietteria@aterballetto.it

Il combattimento di Tancredi e Clorinda

Il combattimento di Tancredi e Clorinda

Teatro Padiglione Italia Osaka
24 September H 18.00
, ,

CCN/Aterballetto is at Expo 2025 Osaka with Il Combattimento di Tancredi e Clorinda.

Italian Pavilion Theatre, September 22–24–25, 2025 at 6:00 pm

Thanks to the support of the Emilia-Romagna Region, CCN/Aterballetto takes part in Emilia-Romagna Week at Expo 2025 Osaka with Il Combattimento di Tancredi e Clorinda.

 

On stage at the Italian Pavilion Theatre, the story of love and death told by Torquato Tasso in Jerusalem Delivered (1575) and set to music by Claudio Monteverdi (1624) comes to life. The performance, created by Fabio Cherstich and Philippe Kratz, is interpreted by dancers Alessia Giacomelli and Kiran Gezels.

https://youtu.be/mjZQdcn1fgc

Direction and Visuals: Fabio Cherstich
Choreography and Stage Movement: Philippe Kratz
Music: Il Combattimento di Tancredi e Clorinda by Claudio Monteverdi (recorded music by Matteo Straffi, tenor, and Deniel Perer, harpsichord)
Dancers: Alessia Giacomelli, Kiran Gezels

Co-production: Fondazione Nazionale della Danza / Aterballetto, Teatro Regio di Parma / Festival Verdi, Torinodanza Festival – Teatro Stabile di Torino – Teatro Nazionale, Ghislierimusica – Centro di Musica Antica

Il Combattimento di Tancredi e Clorinda is a project for the promotion of live performance in museums and cultural heritage sites, supported by the Directorate-General for Museums and co-financed by the Directorate-General for Performing Arts.

For the implementation of the project, the National Museums of Perugia – Regional Directorate of National Museums of Umbria – and in particular the National Archaeological Museum and Roman Theatre of Spoleto, with the support of the Directorate-General for Museums, have established a partnership involving five other major cultural venues: Villa Pisani in Stra, the Castle and Park of Racconigi, the Swabian Castle of Bari, the Certosa di San Martino in Naples, and the Archaeological Park of Venosa. In addition, Castel Sant’Angelo in Rome will host the initiative as part of the summer festival Sotto l’angelo di Castello.

 

The project is part of Italia Danza, a co-designed initiative by the Directorate General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs and CCN/Aterballetto, aimed at promoting Italian artistic heritage abroad.

In my vision of Il Combattimento di Tancredi e Clorinda, I imagine a confined, circular space, where proximity and the likeness of bodies play a fundamental role. Together with choreographer Philippe Kratz, we explore the idea of bodies as mirrors, thus narrating a humanity in conflict with itself. Eros and Thanatos emerge as equally powerful forces, creating a paradoxical atmosphere in this perfectly balanced struggle between human beings. In our vision, Tancredi and Clorinda are contemporary warriors, indissolubly bound to one another, compelled to fight and to enact a story already written.

A single voice will give life to three characters: the text itself, Tancredi, and Clorinda will merge into the body and sound of one singer. This estranged sound, constrained by a circular path, creates a sense of constant repetition, emphasizing the endless cycle of this tale of love and death—destined, tragically, to repeat itself through the centuries and to reach us with all its force, as an emanation of Tasso’s poetic power and Monteverdi’s sublime music.

Fabio Cherstich, Director

In Tasso’s tale, set to music by Claudio Monteverdi, the most obvious themes are the struggle between man and woman and religious conversion, but these are also the aspects I find least intriguing: when adapted into dance, they risk becoming a mere narration of factual circumstances.

A more philosophical or psychoanalytic reading of this struggle—one from which both protagonists emerge defeated, deceived, and solitary—strikes me as far more compelling. Within the opposition of the two roles lies an entire world: the search for one another, the confrontation, the wounding of each other. The dynamic is that of a warlike, conflictual ritual between two entities drawing close. The absurdity of the act becomes clear when one of the two loses their life, and we realize that the other, in any case, has not won… a deep, shared wound remains, inscribed on both bodies. So, are they two people fighting one another, or perhaps one person struggling with themselves?

Philippe Kratz, Choreographer

 

 

Il combattimento di Tancredi e Clorinda

Il combattimento di Tancredi e Clorinda

Teatro Padiglione Italia Osaka
25 September H 18.00
, ,

CCN/Aterballetto is at Expo 2025 Osaka with Il Combattimento di Tancredi e Clorinda.

Italian Pavilion Theatre, September 22–24–25, 2025 at 6:00 pm

Thanks to the support of the Emilia-Romagna Region, CCN/Aterballetto takes part in Emilia-Romagna Week at Expo 2025 Osaka with Il Combattimento di Tancredi e Clorinda.

 

On stage at the Italian Pavilion Theatre, the story of love and death told by Torquato Tasso in Jerusalem Delivered (1575) and set to music by Claudio Monteverdi (1624) comes to life. The performance, created by Fabio Cherstich and Philippe Kratz, is interpreted by dancers Alessia Giacomelli and Kiran Gezels.

https://youtu.be/mjZQdcn1fgc

Direction and Visuals: Fabio Cherstich
Choreography and Stage Movement: Philippe Kratz
Music: Il Combattimento di Tancredi e Clorinda by Claudio Monteverdi (recorded music by Matteo Straffi, tenor, and Deniel Perer, harpsichord)
Dancers: Alessia Giacomelli, Kiran Gezels

Co-production: Fondazione Nazionale della Danza / Aterballetto, Teatro Regio di Parma / Festival Verdi, Torinodanza Festival – Teatro Stabile di Torino – Teatro Nazionale, Ghislierimusica – Centro di Musica Antica

Il Combattimento di Tancredi e Clorinda is a project for the promotion of live performance in museums and cultural heritage sites, supported by the Directorate-General for Museums and co-financed by the Directorate-General for Performing Arts.

For the implementation of the project, the National Museums of Perugia – Regional Directorate of National Museums of Umbria – and in particular the National Archaeological Museum and Roman Theatre of Spoleto, with the support of the Directorate-General for Museums, have established a partnership involving five other major cultural venues: Villa Pisani in Stra, the Castle and Park of Racconigi, the Swabian Castle of Bari, the Certosa di San Martino in Naples, and the Archaeological Park of Venosa. In addition, Castel Sant’Angelo in Rome will host the initiative as part of the summer festival Sotto l’angelo di Castello.

 

The project is part of Italia Danza, a co-designed initiative by the Directorate General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs and CCN/Aterballetto, aimed at promoting Italian artistic heritage abroad.

In my vision of Il Combattimento di Tancredi e Clorinda, I imagine a confined, circular space, where proximity and the likeness of bodies play a fundamental role. Together with choreographer Philippe Kratz, we explore the idea of bodies as mirrors, thus narrating a humanity in conflict with itself. Eros and Thanatos emerge as equally powerful forces, creating a paradoxical atmosphere in this perfectly balanced struggle between human beings. In our vision, Tancredi and Clorinda are contemporary warriors, indissolubly bound to one another, compelled to fight and to enact a story already written.

A single voice will give life to three characters: the text itself, Tancredi, and Clorinda will merge into the body and sound of one singer. This estranged sound, constrained by a circular path, creates a sense of constant repetition, emphasizing the endless cycle of this tale of love and death—destined, tragically, to repeat itself through the centuries and to reach us with all its force, as an emanation of Tasso’s poetic power and Monteverdi’s sublime music.

Fabio Cherstich, Director

In Tasso’s tale, set to music by Claudio Monteverdi, the most obvious themes are the struggle between man and woman and religious conversion, but these are also the aspects I find least intriguing: when adapted into dance, they risk becoming a mere narration of factual circumstances.

A more philosophical or psychoanalytic reading of this struggle—one from which both protagonists emerge defeated, deceived, and solitary—strikes me as far more compelling. Within the opposition of the two roles lies an entire world: the search for one another, the confrontation, the wounding of each other. The dynamic is that of a warlike, conflictual ritual between two entities drawing close. The absurdity of the act becomes clear when one of the two loses their life, and we realize that the other, in any case, has not won… a deep, shared wound remains, inscribed on both bodies. So, are they two people fighting one another, or perhaps one person struggling with themselves?

Philippe Kratz, Choreographer

 

 

Siamo orgogliosi di annunciare che il Centro Coreografico Nazionale / Aterballetto riceverà il Premio Taobuk 2025, nell’ambito del prestigioso Taobuk Festival, in programma a Taormina dal 18 al 23 giugno.

Caracalla Danza

Caracalla Danza

Terme di Caracalla Roma
26 September H 17.45
,

CARACALLA DANZA
FIRST EDITION · SEPTEMBER 26–28

A new initiative by the Special Superintendency of Rome and CCN/Aterballetto
Guest company: Gauthier Dance // Dance Company Theaterhaus Stuttgart

In collaboration with Romaeuropa Festival 2025

An extraordinary site, with its archaeological heritage unique in the world, has since 2024 hosted a stage suspended above a pool of water—an installation created to bring water, its essential element, back to the Baths of Caracalla, where the monument is reflected.

With Caracalla Danza, the Special Superintendency of Rome, in co-design with CCN/Aterballetto—returning to the space it inaugurated on April 13, 2024, to the notes of George Gershwin’s Rhapsody in Blue—places dance at the center of a new model for enhancing a unique heritage site.

CCN/Aterballetto will perform the lunar duet Reconciliatio by Angelin Preljocaj and present the world premiere of a new creation by Diego Tortelli, conceived to be danced in the water itself. The stage will also be shared with one of Europe’s leading companies, Gauthier Dance // Dance Company Theaterhaus Stuttgart, directed by Eric Gauthier, performing works by Marco Goecke, Hofesh Shechter, and Sharon Eyal.

On September 26, 27, and 28, Caracalla Danza will be launched with three evenings that, in the coming years, will establish themselves as a recurring September event, following the major restoration works at the Baths of Caracalla.

INFO & TICKETS

The performances will begin shortly before sunset, approximately between 5:45 pm and 6:00 pm. Admission to the stage area will be possible starting at 5:00 pm. Entry to the seating area will not be permitted once the performance has started.

Tickets:
From €20

Tickets available from September 3 on
Musei Italiani:
www.museiitaliani.it
App Musei Italiani available on Google Play and on App Store

EVENING PROGRAM

With the dancers of Gauthier Dance // Dance Company Theaterhaus Stuttgart. Rome premiere.

Choreography and Costumes: Sharon Eyal
Sound Design: Josef Laimon
Music: Eliza
Lighting Design: Alon Cohen
Assistant to the Choreographer: Clyde Emmanuel Archer

With ALONE, Sharon Eyal returns to the large ensemble that made her renowned. The choreographer demonstrates the hypnotic power of synchrony and the extraordinary dynamics of a body-as-machine organism. Subtle variations or serial transformations disrupt the order of her groups of dancers; individuals break free from the repetitive patterns of an apparently post-human society.

With two dancers of Gauthier Dance // Dance Company Theaterhaus Stuttgart. Rome premiere.

Choreography: Marco Goecke
Music: Mercedes Sosa
Lighting Design: Mario Daszenies
Costumes: Michaela Springer

Marco Goecke’s creation stands out for its precision and energy. Set to the powerful music of Mercedes Sosa, this duet unfolds in a performance full of dynamic movement and emotional tension, captivating the audience from the very first moment.

 

With Estelle Bovay and Arianna Kob, dancers of CCN/Aterballetto. Rome premiere

Choreography: Angelin Preljocaj
Music: Ludwig van Beethoven, Piano Sonata No. 14 “Moonlight”
Costumes: Igor Chapurin
Lighting: Cécile Giovansili
Assistant to the Choreographer: Claudia De Smet
Restaging from the 2010 creation Suivront mille ans de calme
Production: Fondazione Nazionale della Danza / Aterballetto
Co-production: Fondazione Teatro Comunale di Bologna

Dance, the art of the unspeakable par excellence, has the delicate power to reveal our fears, anxieties, and hopes by evoking them. The duet chosen to embody the theme of reconciliation is drawn from Suivront mille ans de calme (A Thousand Years of Calm Will Follow), a work imbued with a poetic and impressionistic vein, inspired by an attentive though non-literal reading of the Apocalypse.

For the choreographer, neither in the original work nor in this female duet—adapted for Memorare 2024 at the Basilica of San Petronio in Bologna—should one seek precise references to St. John’s text. As the etymology of the word apocalypse suggests—“to lift the veil”—it is instead a matter of revealing, uncovering, bringing to light elements present in our world yet hidden from our gaze. These emerge, visible and invisible, in the delicate relationship between the two protagonists of the duet.

With the dancers of Gauthier Dance // Dance Company Theaterhaus Stuttgart. Rome premiere

Choreography: Marco Goecke
Lighting Design: Udo Haberland
Costumes: Michaela Springer
Music: Antony and the Johnsons

The initial spark that led Marco Goecke toward dance came from the legendary company of his hometown, Tanztheater Wuppertal Pina Bausch. Although he only met the pioneer of dance-theatre a few times, she nevertheless played an important role in his career—even long after he had left Wuppertal. In 2004, she invited the young choreographer to present his works Blushing and Mopey at the festival 30 Years of Tanztheater Wuppertal. To this day, Goecke’s gratitude is evident when he speaks of how much that trust meant to him. His solo Infant Spirit is a tribute to Pina Bausch, to whom the choreographer owes so much.

With the dancers of Gauthier Dance // Theaterhaus Stuttgart. Italian premiere

Choreography and Composition: Hofesh Shechter
Lighting Design: Mario Daszenies
Costumes: Gudrun Schretzmeier & Hofesh Shechter
Rehearsal Director: Kim Kohlmann

Eric Gauthier asked Hofesh Shechter, resident artist of his company, to create a choreography that could stand as an independent work—adaptable for touring and ideally suited for outdoor performances. The goal was to produce a truly accessible piece, one that would bring contemporary dance especially to younger audiences.

For those familiar with Shechter, it comes as no surprise that he embraced this challenge with ease—particularly since the origins of Bonus Track lie precisely in an outreach project. Some time ago, Shechter had adapted elements of his choreography Clowns for a series of open-air performances in London with a reduced cast of eight dancers. From that foundation, he created a new version tailor-made for and with Gauthier Dance, also reworking his own soundtrack—once again, as always, original.

With Estelle Bovay and Arianna Kob, dancers of CCN/Aterballetto

Choreography: Diego Tortelli
Costumes: Sportmax
Music: Weyes Blood
New production created especially for the Baths of Caracalla, world premiere

Limen (from the Latin: threshold — between real and reflected, between presence and dissolution) is a choreographic dialogue between two female presences emerging from the veil of water as if from an invisible threshold. They mirror each other, brush against one another, seek and dissolve, like unstable reflections on the liquid skin of the surface.

Their dance moves along the boundary — between body and echo, between gesture and memory, between what appears and what fades away. The work reactivates the memory of the site — once a temple of the body, of care, of collective ritual — and transforms it into an intimate, circular, almost whispered gesture. The two dancers do not embody characters, but mirrored forces, twin archetypes seeking one another without ever fully coinciding, like two halves of a reflected image trembling in the water.

Gauthier Dance // Dance Company Theaterhaus Stuttgart is a young and dynamic company of 16 highly individual and versatile artists, led by dancer, choreographer, musician, and charismatic dance ambassador Eric Gauthier. Founded in October 2007, the company quickly established itself on the German dance scene and has long since become an internationally recognized name.

Its repertoire includes works by Gauthier himself as well as by renowned contemporary choreographers such as Mauro Bigonzetti, Sidi Larbi Cherkaoui, Marie Chouinard, Sharon Eyal, Andonis Foniadakis, William Forsythe, Itzik Galili, Jiří Kylián, Lightfoot/León, Hans van Manen, Marcos Morau, Ohad Naharin, and Sasha Waltz.

In addition to performances at its home base Theaterhaus Stuttgart, the company regularly tours major international dance capitals, including Toronto, New York, Tel Aviv, Venice, Amsterdam, St. Petersburg, Munich, Québec City, Montréal, Berlin, and Chicago. Gauthier Dance // Dance Company Theaterhaus Stuttgart was highlighted as a “German Highlight” in the 2022 yearbook of the specialist magazine tanz.

Alongside its growing acclaim, Gauthier Dance has strengthened collaborations with world-renowned choreographers—especially with resident artists Marco Goecke (January 2019 to summer 2023), Hofesh Shechter (since 2021), and Barak Marshall (from the 2024/25 season). Even during the pandemic, the company did not stop, launching an inspiring initiative that drew wide attention beyond the dance world: between winter and spring 2021, 16 choreographers, 16 filmmakers, and 16 composers each created a solo for one of the company’s members. The Dying Swans Project is still available free of charge on the media library of the German broadcaster 3sat. The project was enthusiastically received, even catching the attention of the President of the Federal Republic of Germany, Frank-Walter Steinmeier, who arranged a video call with Eric Gauthier to learn more.

Recent highlights include the themed evening Swan Lakes (2021), with world premieres by Marie Chouinard, Marco Goecke, Hofesh Shechter, and Cayetano Soto; The Seven Sins (2022), in which Aszure Barton, Sidi Larbi Cherkaoui, Sharon Eyal, Marco Goecke, Marcos Morau, Hofesh Shechter, and Sasha Waltz each transformed a deadly sin into a choreographic creation; the 2022/23 season’s 15th-anniversary celebration 15 YEARS ALIVE; and in 2024, ELEMENTS, featuring world premieres by Mauro Bigonzetti, Sharon Eyal, Andonis Foniadakis, and Louise Lecavalier.

The 2024/25 season brought two spectacular new productions: FireWorks, in which Mauro Bigonzetti, Virginie Brunelle, Stijn Celis, Dominique Dumais, Andonis Foniadakis, Marco Goecke, Johan Inger, Barak Marshall, Benjamin Millepied, and Sofia Nappi each created a short new work to celebrate the 40th anniversary of Theaterhaus as a cultural landmark for Stuttgart; and in summer 2025, the company opened the COLOURS International Dance Festival with the world premiere of The Turning of Bones, created by international choreography star Akram Khan.

Beyond its “traditional” performance activities, Gauthier Dance has stood out since its founding for its pioneering socio-cultural initiatives. With Gauthier Dance Mobile, the company brings dance to those unable to attend the theatre, performing in nursing homes, hospitals, and facilities for people with disabilities. In 2022, Theaterhaus and Eric Gauthier launched a new chapter of this program with the MOVES FOR FUTURE initiative, involving the new youth company. The Gauthier Dance JUNIORS // Theaterhaus Stuttgart ignite enthusiasm for dance among younger generations through numerous school performances across the region, showing remarkable maturity in their own independent productions, which rival those of their more experienced colleagues.

www.theaterhaus.com/de/gauthier

Siamo orgogliosi di annunciare che il Centro Coreografico Nazionale / Aterballetto riceverà il Premio Taobuk 2025, nell’ambito del prestigioso Taobuk Festival, in programma a Taormina dal 18 al 23 giugno.

Caracalla Danza

Caracalla Danza

Terme di Caracalla Roma
27 September H 17.45
,

CARACALLA DANZA
FIRST EDITION · SEPTEMBER 26–28

A new initiative by the Special Superintendency of Rome and CCN/Aterballetto
Guest company: Gauthier Dance // Dance Company Theaterhaus Stuttgart

In collaboration with Romaeuropa Festival 2025

An extraordinary site, with its archaeological heritage unique in the world, has since 2024 hosted a stage suspended above a pool of water—an installation created to bring water, its essential element, back to the Baths of Caracalla, where the monument is reflected.

With Caracalla Danza, the Special Superintendency of Rome, in co-design with CCN/Aterballetto—returning to the space it inaugurated on April 13, 2024, to the notes of George Gershwin’s Rhapsody in Blue—places dance at the center of a new model for enhancing a unique heritage site.

CCN/Aterballetto will perform the lunar duet Reconciliatio by Angelin Preljocaj and present the world premiere of a new creation by Diego Tortelli, conceived to be danced in the water itself. The stage will also be shared with one of Europe’s leading companies, Gauthier Dance // Dance Company Theaterhaus Stuttgart, directed by Eric Gauthier, performing works by Marco Goecke, Hofesh Shechter, and Sharon Eyal.

On September 26, 27, and 28, Caracalla Danza will be launched with three evenings that, in the coming years, will establish themselves as a recurring September event, following the major restoration works at the Baths of Caracalla.

INFO & TICKETS

The performances will begin shortly before sunset, approximately between 5:45 pm and 6:00 pm. Admission to the stage area will be possible starting at 5:00 pm. Entry to the seating area will not be permitted once the performance has started.

Tickets:
From €20

Tickets available from September 3 on
Musei Italiani:
www.museiitaliani.it
App Musei Italiani available on Google Play and on App Store

EVENING PROGRAM

With the dancers of Gauthier Dance // Dance Company Theaterhaus Stuttgart. Rome premiere.

Choreography and Costumes: Sharon Eyal
Sound Design: Josef Laimon
Music: Eliza
Lighting Design: Alon Cohen
Assistant to the Choreographer: Clyde Emmanuel Archer

With ALONE, Sharon Eyal returns to the large ensemble that made her renowned. The choreographer demonstrates the hypnotic power of synchrony and the extraordinary dynamics of a body-as-machine organism. Subtle variations or serial transformations disrupt the order of her groups of dancers; individuals break free from the repetitive patterns of an apparently post-human society.

With two dancers of Gauthier Dance // Dance Company Theaterhaus Stuttgart. Rome premiere.

Choreography: Marco Goecke
Music: Mercedes Sosa
Lighting Design: Mario Daszenies
Costumes: Michaela Springer

Marco Goecke’s creation stands out for its precision and energy. Set to the powerful music of Mercedes Sosa, this duet unfolds in a performance full of dynamic movement and emotional tension, captivating the audience from the very first moment.

 

With Estelle Bovay and Arianna Kob, dancers of CCN/Aterballetto. Rome premiere

Choreography: Angelin Preljocaj
Music: Ludwig van Beethoven, Piano Sonata No. 14 “Moonlight”
Costumes: Igor Chapurin
Lighting: Cécile Giovansili
Assistant to the Choreographer: Claudia De Smet
Restaging from the 2010 creation Suivront mille ans de calme
Production: Fondazione Nazionale della Danza / Aterballetto
Co-production: Fondazione Teatro Comunale di Bologna

Dance, the art of the unspeakable par excellence, has the delicate power to reveal our fears, anxieties, and hopes by evoking them. The duet chosen to embody the theme of reconciliation is drawn from Suivront mille ans de calme (A Thousand Years of Calm Will Follow), a work imbued with a poetic and impressionistic vein, inspired by an attentive though non-literal reading of the Apocalypse.

For the choreographer, neither in the original work nor in this female duet—adapted for Memorare 2024 at the Basilica of San Petronio in Bologna—should one seek precise references to St. John’s text. As the etymology of the word apocalypse suggests—“to lift the veil”—it is instead a matter of revealing, uncovering, bringing to light elements present in our world yet hidden from our gaze. These emerge, visible and invisible, in the delicate relationship between the two protagonists of the duet.

With the dancers of Gauthier Dance // Dance Company Theaterhaus Stuttgart. Rome premiere

Choreography: Marco Goecke
Lighting Design: Udo Haberland
Costumes: Michaela Springer
Music: Antony and the Johnsons

The initial spark that led Marco Goecke toward dance came from the legendary company of his hometown, Tanztheater Wuppertal Pina Bausch. Although he only met the pioneer of dance-theatre a few times, she nevertheless played an important role in his career—even long after he had left Wuppertal. In 2004, she invited the young choreographer to present his works Blushing and Mopey at the festival 30 Years of Tanztheater Wuppertal. To this day, Goecke’s gratitude is evident when he speaks of how much that trust meant to him. His solo Infant Spirit is a tribute to Pina Bausch, to whom the choreographer owes so much.

With the dancers of Gauthier Dance // Theaterhaus Stuttgart. Italian premiere

Choreography and Composition: Hofesh Shechter
Lighting Design: Mario Daszenies
Costumes: Gudrun Schretzmeier & Hofesh Shechter
Rehearsal Director: Kim Kohlmann

Eric Gauthier asked Hofesh Shechter, resident artist of his company, to create a choreography that could stand as an independent work—adaptable for touring and ideally suited for outdoor performances. The goal was to produce a truly accessible piece, one that would bring contemporary dance especially to younger audiences.

For those familiar with Shechter, it comes as no surprise that he embraced this challenge with ease—particularly since the origins of Bonus Track lie precisely in an outreach project. Some time ago, Shechter had adapted elements of his choreography Clowns for a series of open-air performances in London with a reduced cast of eight dancers. From that foundation, he created a new version tailor-made for and with Gauthier Dance, also reworking his own soundtrack—once again, as always, original.

With Estelle Bovay and Arianna Kob, dancers of CCN/Aterballetto

Choreography: Diego Tortelli
Costumes: Sportmax
Music: Weyes Blood
New production created especially for the Baths of Caracalla, world premiere

Limen (from the Latin: threshold — between real and reflected, between presence and dissolution) is a choreographic dialogue between two female presences emerging from the veil of water as if from an invisible threshold. They mirror each other, brush against one another, seek and dissolve, like unstable reflections on the liquid skin of the surface.

Their dance moves along the boundary — between body and echo, between gesture and memory, between what appears and what fades away. The work reactivates the memory of the site — once a temple of the body, of care, of collective ritual — and transforms it into an intimate, circular, almost whispered gesture. The two dancers do not embody characters, but mirrored forces, twin archetypes seeking one another without ever fully coinciding, like two halves of a reflected image trembling in the water.

Gauthier Dance // Dance Company Theaterhaus Stuttgart is a young and dynamic company of 16 highly individual and versatile artists, led by dancer, choreographer, musician, and charismatic dance ambassador Eric Gauthier. Founded in October 2007, the company quickly established itself on the German dance scene and has long since become an internationally recognized name.

Its repertoire includes works by Gauthier himself as well as by renowned contemporary choreographers such as Mauro Bigonzetti, Sidi Larbi Cherkaoui, Marie Chouinard, Sharon Eyal, Andonis Foniadakis, William Forsythe, Itzik Galili, Jiří Kylián, Lightfoot/León, Hans van Manen, Marcos Morau, Ohad Naharin, and Sasha Waltz.

In addition to performances at its home base Theaterhaus Stuttgart, the company regularly tours major international dance capitals, including Toronto, New York, Tel Aviv, Venice, Amsterdam, St. Petersburg, Munich, Québec City, Montréal, Berlin, and Chicago. Gauthier Dance // Dance Company Theaterhaus Stuttgart was highlighted as a “German Highlight” in the 2022 yearbook of the specialist magazine tanz.

Alongside its growing acclaim, Gauthier Dance has strengthened collaborations with world-renowned choreographers—especially with resident artists Marco Goecke (January 2019 to summer 2023), Hofesh Shechter (since 2021), and Barak Marshall (from the 2024/25 season). Even during the pandemic, the company did not stop, launching an inspiring initiative that drew wide attention beyond the dance world: between winter and spring 2021, 16 choreographers, 16 filmmakers, and 16 composers each created a solo for one of the company’s members. The Dying Swans Project is still available free of charge on the media library of the German broadcaster 3sat. The project was enthusiastically received, even catching the attention of the President of the Federal Republic of Germany, Frank-Walter Steinmeier, who arranged a video call with Eric Gauthier to learn more.

Recent highlights include the themed evening Swan Lakes (2021), with world premieres by Marie Chouinard, Marco Goecke, Hofesh Shechter, and Cayetano Soto; The Seven Sins (2022), in which Aszure Barton, Sidi Larbi Cherkaoui, Sharon Eyal, Marco Goecke, Marcos Morau, Hofesh Shechter, and Sasha Waltz each transformed a deadly sin into a choreographic creation; the 2022/23 season’s 15th-anniversary celebration 15 YEARS ALIVE; and in 2024, ELEMENTS, featuring world premieres by Mauro Bigonzetti, Sharon Eyal, Andonis Foniadakis, and Louise Lecavalier.

The 2024/25 season brought two spectacular new productions: FireWorks, in which Mauro Bigonzetti, Virginie Brunelle, Stijn Celis, Dominique Dumais, Andonis Foniadakis, Marco Goecke, Johan Inger, Barak Marshall, Benjamin Millepied, and Sofia Nappi each created a short new work to celebrate the 40th anniversary of Theaterhaus as a cultural landmark for Stuttgart; and in summer 2025, the company opened the COLOURS International Dance Festival with the world premiere of The Turning of Bones, created by international choreography star Akram Khan.

Beyond its “traditional” performance activities, Gauthier Dance has stood out since its founding for its pioneering socio-cultural initiatives. With Gauthier Dance Mobile, the company brings dance to those unable to attend the theatre, performing in nursing homes, hospitals, and facilities for people with disabilities. In 2022, Theaterhaus and Eric Gauthier launched a new chapter of this program with the MOVES FOR FUTURE initiative, involving the new youth company. The Gauthier Dance JUNIORS // Theaterhaus Stuttgart ignite enthusiasm for dance among younger generations through numerous school performances across the region, showing remarkable maturity in their own independent productions, which rival those of their more experienced colleagues.

www.theaterhaus.com/de/gauthier

Siamo orgogliosi di annunciare che il Centro Coreografico Nazionale / Aterballetto riceverà il Premio Taobuk 2025, nell’ambito del prestigioso Taobuk Festival, in programma a Taormina dal 18 al 23 giugno.

Caracalla Danza

Caracalla Danza

Terme di Caracalla Roma
28 September H 17.45
,

CARACALLA DANZA
FIRST EDITION · SEPTEMBER 26–28

A new initiative by the Special Superintendency of Rome and CCN/Aterballetto
Guest company: Gauthier Dance // Dance Company Theaterhaus Stuttgart

In collaboration with Romaeuropa Festival 2025

An extraordinary site, with its archaeological heritage unique in the world, has since 2024 hosted a stage suspended above a pool of water—an installation created to bring water, its essential element, back to the Baths of Caracalla, where the monument is reflected.

With Caracalla Danza, the Special Superintendency of Rome, in co-design with CCN/Aterballetto—returning to the space it inaugurated on April 13, 2024, to the notes of George Gershwin’s Rhapsody in Blue—places dance at the center of a new model for enhancing a unique heritage site.

CCN/Aterballetto will perform the lunar duet Reconciliatio by Angelin Preljocaj and present the world premiere of a new creation by Diego Tortelli, conceived to be danced in the water itself. The stage will also be shared with one of Europe’s leading companies, Gauthier Dance // Dance Company Theaterhaus Stuttgart, directed by Eric Gauthier, performing works by Marco Goecke, Hofesh Shechter, and Sharon Eyal.

On September 26, 27, and 28, Caracalla Danza will be launched with three evenings that, in the coming years, will establish themselves as a recurring September event, following the major restoration works at the Baths of Caracalla.

INFO & TICKETS

The performances will begin shortly before sunset, approximately between 5:45 pm and 6:00 pm. Admission to the stage area will be possible starting at 5:00 pm. Entry to the seating area will not be permitted once the performance has started.

Tickets:
From €20

Tickets available from September 3 on
Musei Italiani:
www.museiitaliani.it
App Musei Italiani available on Google Play and on App Store

EVENING PROGRAM

With the dancers of Gauthier Dance // Dance Company Theaterhaus Stuttgart. Rome premiere.

Choreography and Costumes: Sharon Eyal
Sound Design: Josef Laimon
Music: Eliza
Lighting Design: Alon Cohen
Assistant to the Choreographer: Clyde Emmanuel Archer

With ALONE, Sharon Eyal returns to the large ensemble that made her renowned. The choreographer demonstrates the hypnotic power of synchrony and the extraordinary dynamics of a body-as-machine organism. Subtle variations or serial transformations disrupt the order of her groups of dancers; individuals break free from the repetitive patterns of an apparently post-human society.

With two dancers of Gauthier Dance // Dance Company Theaterhaus Stuttgart. Rome premiere.

Choreography: Marco Goecke
Music: Mercedes Sosa
Lighting Design: Mario Daszenies
Costumes: Michaela Springer

Marco Goecke’s creation stands out for its precision and energy. Set to the powerful music of Mercedes Sosa, this duet unfolds in a performance full of dynamic movement and emotional tension, captivating the audience from the very first moment.

 

With Estelle Bovay and Arianna Kob, dancers of CCN/Aterballetto. Rome premiere

Choreography: Angelin Preljocaj
Music: Ludwig van Beethoven, Piano Sonata No. 14 “Moonlight”
Costumes: Igor Chapurin
Lighting: Cécile Giovansili
Assistant to the Choreographer: Claudia De Smet
Restaging from the 2010 creation Suivront mille ans de calme
Production: Fondazione Nazionale della Danza / Aterballetto
Co-production: Fondazione Teatro Comunale di Bologna

Dance, the art of the unspeakable par excellence, has the delicate power to reveal our fears, anxieties, and hopes by evoking them. The duet chosen to embody the theme of reconciliation is drawn from Suivront mille ans de calme (A Thousand Years of Calm Will Follow), a work imbued with a poetic and impressionistic vein, inspired by an attentive though non-literal reading of the Apocalypse.

For the choreographer, neither in the original work nor in this female duet—adapted for Memorare 2024 at the Basilica of San Petronio in Bologna—should one seek precise references to St. John’s text. As the etymology of the word apocalypse suggests—“to lift the veil”—it is instead a matter of revealing, uncovering, bringing to light elements present in our world yet hidden from our gaze. These emerge, visible and invisible, in the delicate relationship between the two protagonists of the duet.

With the dancers of Gauthier Dance // Dance Company Theaterhaus Stuttgart. Rome premiere

Choreography: Marco Goecke
Lighting Design: Udo Haberland
Costumes: Michaela Springer
Music: Antony and the Johnsons

The initial spark that led Marco Goecke toward dance came from the legendary company of his hometown, Tanztheater Wuppertal Pina Bausch. Although he only met the pioneer of dance-theatre a few times, she nevertheless played an important role in his career—even long after he had left Wuppertal. In 2004, she invited the young choreographer to present his works Blushing and Mopey at the festival 30 Years of Tanztheater Wuppertal. To this day, Goecke’s gratitude is evident when he speaks of how much that trust meant to him. His solo Infant Spirit is a tribute to Pina Bausch, to whom the choreographer owes so much.

With the dancers of Gauthier Dance // Theaterhaus Stuttgart. Italian premiere

Choreography and Composition: Hofesh Shechter
Lighting Design: Mario Daszenies
Costumes: Gudrun Schretzmeier & Hofesh Shechter
Rehearsal Director: Kim Kohlmann

Eric Gauthier asked Hofesh Shechter, resident artist of his company, to create a choreography that could stand as an independent work—adaptable for touring and ideally suited for outdoor performances. The goal was to produce a truly accessible piece, one that would bring contemporary dance especially to younger audiences.

For those familiar with Shechter, it comes as no surprise that he embraced this challenge with ease—particularly since the origins of Bonus Track lie precisely in an outreach project. Some time ago, Shechter had adapted elements of his choreography Clowns for a series of open-air performances in London with a reduced cast of eight dancers. From that foundation, he created a new version tailor-made for and with Gauthier Dance, also reworking his own soundtrack—once again, as always, original.

With Estelle Bovay and Arianna Kob, dancers of CCN/Aterballetto

Choreography: Diego Tortelli
Costumes: Sportmax
Music: Weyes Blood
New production created especially for the Baths of Caracalla, world premiere

Limen (from the Latin: threshold — between real and reflected, between presence and dissolution) is a choreographic dialogue between two female presences emerging from the veil of water as if from an invisible threshold. They mirror each other, brush against one another, seek and dissolve, like unstable reflections on the liquid skin of the surface.

Their dance moves along the boundary — between body and echo, between gesture and memory, between what appears and what fades away. The work reactivates the memory of the site — once a temple of the body, of care, of collective ritual — and transforms it into an intimate, circular, almost whispered gesture. The two dancers do not embody characters, but mirrored forces, twin archetypes seeking one another without ever fully coinciding, like two halves of a reflected image trembling in the water.

Gauthier Dance // Dance Company Theaterhaus Stuttgart is a young and dynamic company of 16 highly individual and versatile artists, led by dancer, choreographer, musician, and charismatic dance ambassador Eric Gauthier. Founded in October 2007, the company quickly established itself on the German dance scene and has long since become an internationally recognized name.

Its repertoire includes works by Gauthier himself as well as by renowned contemporary choreographers such as Mauro Bigonzetti, Sidi Larbi Cherkaoui, Marie Chouinard, Sharon Eyal, Andonis Foniadakis, William Forsythe, Itzik Galili, Jiří Kylián, Lightfoot/León, Hans van Manen, Marcos Morau, Ohad Naharin, and Sasha Waltz.

In addition to performances at its home base Theaterhaus Stuttgart, the company regularly tours major international dance capitals, including Toronto, New York, Tel Aviv, Venice, Amsterdam, St. Petersburg, Munich, Québec City, Montréal, Berlin, and Chicago. Gauthier Dance // Dance Company Theaterhaus Stuttgart was highlighted as a “German Highlight” in the 2022 yearbook of the specialist magazine tanz.

Alongside its growing acclaim, Gauthier Dance has strengthened collaborations with world-renowned choreographers—especially with resident artists Marco Goecke (January 2019 to summer 2023), Hofesh Shechter (since 2021), and Barak Marshall (from the 2024/25 season). Even during the pandemic, the company did not stop, launching an inspiring initiative that drew wide attention beyond the dance world: between winter and spring 2021, 16 choreographers, 16 filmmakers, and 16 composers each created a solo for one of the company’s members. The Dying Swans Project is still available free of charge on the media library of the German broadcaster 3sat. The project was enthusiastically received, even catching the attention of the President of the Federal Republic of Germany, Frank-Walter Steinmeier, who arranged a video call with Eric Gauthier to learn more.

Recent highlights include the themed evening Swan Lakes (2021), with world premieres by Marie Chouinard, Marco Goecke, Hofesh Shechter, and Cayetano Soto; The Seven Sins (2022), in which Aszure Barton, Sidi Larbi Cherkaoui, Sharon Eyal, Marco Goecke, Marcos Morau, Hofesh Shechter, and Sasha Waltz each transformed a deadly sin into a choreographic creation; the 2022/23 season’s 15th-anniversary celebration 15 YEARS ALIVE; and in 2024, ELEMENTS, featuring world premieres by Mauro Bigonzetti, Sharon Eyal, Andonis Foniadakis, and Louise Lecavalier.

The 2024/25 season brought two spectacular new productions: FireWorks, in which Mauro Bigonzetti, Virginie Brunelle, Stijn Celis, Dominique Dumais, Andonis Foniadakis, Marco Goecke, Johan Inger, Barak Marshall, Benjamin Millepied, and Sofia Nappi each created a short new work to celebrate the 40th anniversary of Theaterhaus as a cultural landmark for Stuttgart; and in summer 2025, the company opened the COLOURS International Dance Festival with the world premiere of The Turning of Bones, created by international choreography star Akram Khan.

Beyond its “traditional” performance activities, Gauthier Dance has stood out since its founding for its pioneering socio-cultural initiatives. With Gauthier Dance Mobile, the company brings dance to those unable to attend the theatre, performing in nursing homes, hospitals, and facilities for people with disabilities. In 2022, Theaterhaus and Eric Gauthier launched a new chapter of this program with the MOVES FOR FUTURE initiative, involving the new youth company. The Gauthier Dance JUNIORS // Theaterhaus Stuttgart ignite enthusiasm for dance among younger generations through numerous school performances across the region, showing remarkable maturity in their own independent productions, which rival those of their more experienced colleagues.

www.theaterhaus.com/de/gauthier

NOTTE MORRICONE

NOTTE MORRICONE

Theater Winterthur Winterthur
2 October H 19.30
, , ,

 

From October 2 to 4 in Winterthur, the Centro Coreografico Nazionale/Aterballetto will perform Notte Morricone by Marcos Morau, alongside the Musikkollegium Winterthur orchestra.

From October 3 to 5, 2025, Aterballetto presents a tribute to the music of Ennio Morricone, performed live at the Swiss theater by the Musikkollegium Winterthur Orchestra under the baton of Maestro Maurizio Billi. These performances mark the beginning of the company’s 2025-2026 tour.

“I, Ennio Morricone, am dead,” wrote the composer before his farewell. But his music cannot die. This is how creators and artists always leave us without truly leaving, and how memory keeps them alive, keeping them safe. Notte Morricone is my gift—a devoted tribute to the beauty he gave to the world.
Notte Morricone unfolds in the twilight of an ordinary night in the life of a creative mind, alone and dazed before his sheets, taking notes and envisioning melodies for films that do not yet exist, bringing stories back to life in the rarefied air of his room.
— Marcos Morau, director and choreographer

It is impossible to describe Notte Morricone, a masterful piece that washes over the audience in waves, embracing them with emotional tides, capturing them in the memory of timeless melodies that have outlived the images that inspired them. The choreography, too, is enchanting—crafted with obsessive attention to detail: legs and neck seem jointless, bending and snapping rhythmically like metronomes.
— Maria Luisa Buzzi, Danza&Danza

Discover more »

Duration: 90 minutes

NOTTE MORRICONE

NOTTE MORRICONE

Theater Winterthur Winterthur
3 October H 19.30
, , ,

 

From October 2 to 4 in Winterthur, the Centro Coreografico Nazionale/Aterballetto will perform Notte Morricone by Marcos Morau, alongside the Musikkollegium Winterthur orchestra.

From October 3 to 5, 2025, Aterballetto presents a tribute to the music of Ennio Morricone, performed live at the Swiss theater by the Musikkollegium Winterthur Orchestra under the baton of Maestro Maurizio Billi. These performances mark the beginning of the company’s 2025-2026 tour.

“I, Ennio Morricone, am dead,” wrote the composer before his farewell. But his music cannot die. This is how creators and artists always leave us without truly leaving, and how memory keeps them alive, keeping them safe. Notte Morricone is my gift—a devoted tribute to the beauty he gave to the world.
Notte Morricone unfolds in the twilight of an ordinary night in the life of a creative mind, alone and dazed before his sheets, taking notes and envisioning melodies for films that do not yet exist, bringing stories back to life in the rarefied air of his room.
— Marcos Morau, director and choreographer

It is impossible to describe Notte Morricone, a masterful piece that washes over the audience in waves, embracing them with emotional tides, capturing them in the memory of timeless melodies that have outlived the images that inspired them. The choreography, too, is enchanting—crafted with obsessive attention to detail: legs and neck seem jointless, bending and snapping rhythmically like metronomes.
— Maria Luisa Buzzi, Danza&Danza

Discover more »

Duration: 90 minutes

NOTTE MORRICONE

NOTTE MORRICONE

Theater Winterthur Winterthur
4 October H 19.30
, , ,

 

From October 2 to 4 in Winterthur, the Centro Coreografico Nazionale/Aterballetto will perform Notte Morricone by Marcos Morau, alongside the Musikkollegium Winterthur orchestra.

From October 3 to 5, 2025, Aterballetto presents a tribute to the music of Ennio Morricone, performed live at the Swiss theater by the Musikkollegium Winterthur Orchestra under the baton of Maestro Maurizio Billi. These performances mark the beginning of the company’s 2025-2026 tour.

“I, Ennio Morricone, am dead,” wrote the composer before his farewell. But his music cannot die. This is how creators and artists always leave us without truly leaving, and how memory keeps them alive, keeping them safe. Notte Morricone is my gift—a devoted tribute to the beauty he gave to the world.
Notte Morricone unfolds in the twilight of an ordinary night in the life of a creative mind, alone and dazed before his sheets, taking notes and envisioning melodies for films that do not yet exist, bringing stories back to life in the rarefied air of his room.
— Marcos Morau, director and choreographer

It is impossible to describe Notte Morricone, a masterful piece that washes over the audience in waves, embracing them with emotional tides, capturing them in the memory of timeless melodies that have outlived the images that inspired them. The choreography, too, is enchanting—crafted with obsessive attention to detail: legs and neck seem jointless, bending and snapping rhythmically like metronomes.
— Maria Luisa Buzzi, Danza&Danza

Discover more »

Duration: 90 minutes

Stuporosa

Stuporosa

Fonderia Reggio Emilia
16 October H 20.30
, ,

Francesco Marilungo’s Stuporosa is a whirling dance in which tarantism, “possession,” and funeral lament hypnotize the audience.

The Ubu Award for Best Dance Performance 2024 comes to Fonderia. Francesco Marilungo draws inspiration from popular funeral rituals, tarantism, and the dance of Saint Vitus to create Stuporosa, an extraordinary collective work for five performers exploring the universality of grief and its healing.

 

 

Direction and Choreography: Francesco Marilungo
With: Alice Raffaelli, Barbara Novati, Roberta Racis, Francesca Linnea Ugolini, Vera Di Lecce, Martina di Prato
Music and Vocal Coaching: Vera Di Lecce
Set and Lighting Design: Gianni Staropoli
Costumes: Lessico Familiare
Photography and Video: Luca Del Pia

Production: Körper | National Dance Production Centre
Co-production: Fabbrica Europa
With the support of IntercettAzioni – Centro di Residenza Artistica della Lombardia
With the support of Short Theatre Festival, Fuori Programma Festival, Teatro Akropolis & Dracma Teatro – Progetto CURA, Did Studio, Base Milano, Qenhun

Thus, apparently without reason, the five performers of Stuporosa weep, giving life to a cry that takes on many shades: at times restrained, at times stifled, at times becoming music, then flowing into hope, then transforming into song, echoing the sounds of an ancient Salentinian funeral lament.

Their bodies fragment in search of archaic, distant forms that vanish and dissolve instantly. These forms are figures of pathos, archetypal images of human suffering handed down over centuries and civilizations—images drawn from ancient funeral rites but universal in meaning, for since the dawn of humanity, suffering has always been endured in the same way. The five performers attempt to reclaim a sense of collectivity, of rituality, to create new forms of mutual support—whispering ancient magical formulas, evoking traditional dances, singing a Salentinian lullaby.

In Stuporosa, as in ritual weeping, one witnesses a stylization of pathos, a de-hystericization of grief; and the performance itself seeks to be an invitation to reflect on mourning, on the human need for a shared cultural institution, a communal rite, to overcome moments of individual crisis.

After studying Engineering and conducting research at the Von Karman Institute in Brussels, Francesco Marilungo attended the Theatre-Dance Atelier at Paolo Grassi in Milan. Since 2010, he has collaborated with internationally renowned choreographers such as Julie Anne Stanzak, Masaki Iwana, Yasmine Hugonnet, Jan Fabre, and Romeo Castellucci. Over the years, he has performed for Enzo Cosimi, Antonio Marras, and Alessandro Sciarroni. He then began his own creative journey, seeking a personal language between performance, dance, and visual arts.

Paradise, winner of the NEXT 2015/2016 call in Lombardy, was selected by Anticorpi XL for the 2016 Vetrina della Giovane Danza d’Autore. Love Souvenir (2018) won the Inteatro Festival call and the NEXT 2017/2018 call in Lombardy. With Party Girl, he received the Prospettiva Danza Award 2020 and the Cross Award 2020, and was selected for the Nid Platform 2021. Stuporosa premiered at Short Theatre Rome in September 2023 and began an international tour. In 2024, Stuporosa was presented at the Nid Platform in the programming section and won the 2024 UBU Award for Best Dance Performance.

His new project, Cani Lunari, winner of the Premio CollaborAction – Anticorpi XL Network, will premiere in September 2025.

TICKETS

Full price: €10
Reduced: €6 (under 30, dance schools, Liceo Coreutico Matilde di Canossa, over 65, CRAL members of the Municipality of Reggio Emilia)
Reduced: €3 (under 8)

TICKET PURCHASE

ONLINE: https://www.biglietteriafonderia39.it/home.aspx
Fonderia Box Office: opens one hour before the performance (via della Costituzione 39, Reggio Emilia).

Tickets are unreserved (general admission).

CONTACTS FOR RESERVATIONS

Phone & WhatsApp: +39 334 1023554
Email: biglietteria@aterballetto.it

Ti vedo. La leggenda del Basilisco

Ti vedo. La leggenda del Basilisco

Fonderia Reggio Emilia
18 October H 18.00
, ,

What if a fairy tale were told by an enormous dress of fabric?

 

Ti vedo. La leggenda del Basilisco

 

by Teatro del Buratto is an immersive and poetic performance designed for children, weaving together theatre, myth, and magic. Among witches, spells, and the dreaded King of Serpents, children will be carried on an exciting journey where fear and courage meet. A little hero and a fearsome basilisk teach us that sometimes it is enough to look beyond appearances to discover that every creature holds the possibility of change.

 

Recommended age: from 4 years

A project by: Emanuela Dall’Aglio
With: Emanuela Dall’Aglio, Riccardo Paltenghi
Direction: Emanuela Dall’Aglio
Soundscapes and Lighting: Mirto Baliani
Constructions: Emanuela Dall’Aglio, Michele Columna, Riccardo Paltenghi, Caterina Berta
Assistant Director: Beatrice Masala

 

A co-production by: Teatro del Buratto, CSS Teatro Stabile di Innovazione del Friuli Venezia Giulia

 

Recommended age: from 4 years
Duration: 50 minutes

“I see you, all the creatures that men call monsters.
Monstrous creatures? Monstrous?… Who are they, really? They are those who cannot be saved, who are of a form unsuited to this world. But what if, for once, they were the heroes—clumsy, reckless, involuntary saviors of themselves?”
N. Haynes

 

A dress-story that tells a myth.
A great skirt that contains within itself all the elements of this tale. A mountain of red fabric in which a narrator recounts the story of a witch and her basilisk.

 

Humankind has always needed to create and to fight monsters that embody evil and the flaws of the world, and this performance begins with the act of creation—the magical rite that gives birth to a basilisk.

 

But now we must face the King of Serpents, a creature unsuited to life among men, with supernatural powers, sowing terror, and with a single gaze turning living beings into stone. Through the centuries, countless legends have cast him as a terrible and deadly figure. Drawing on some of these, our story begins with the arrival of the Basilisk in a peaceful village. His power breeds fear and dismay; the villagers, not knowing how to banish him and powerless against his magic, lock themselves in their homes in fear.

But is this creature truly a monster, or is it simply unable to change its nature?
Perhaps, unaware of how to handle its power, it is imprisoned by it.
Only through the encounter and clash with a small, unsuspecting hero—through his reckless courage and his gentleness—will the Basilisk be offered a way out: in this case, a magical antidote, a trick to ensure that no one dies—neither the monster nor the village.

 

Through knowledge, courage, encounter, and even a touch of magic, we find a new solution to an old legend.

Founded in 1975 in Milan, Teatro del Buratto is a theatre production center that combines actor’s theatre, puppet and animation theatre, and black theatre, with a strong focus on visual, musical, and scenographic research. Its productions, aimed at children, adolescents, and adults, range from reimagined classics to new dramaturgies, often addressing contemporary social issues.

 

Active both nationally and internationally, Buratto is recognized by the Italian Ministry of Culture as a Theatre Production Centre and manages the Teatro Bruno Munari and Teatro Verdi in Milan. Beyond production, it promotes residencies, training, workshops, and festivals such as IF Festival and Segnali, standing as a key reference point for visual and innovative theatre.

SATURDAY, OCTOBER 18 – 4:30 pm
FAMILY CONTACT

 

Workshop led by choreographer Laura Matano

 

Family Contact is a moment of sharing between children and parents, exploring new worlds together. Through the body, movement, and physical contact, participants create and build a new sense of harmonious connection. For children accompanied by one parent.

 

(Includes ticket for the 6:00 pm performance)

 

TICKETS
Single ticket: €6

 

TICKET PURCHASE

 

ONLINE: https://www.biglietteriafonderia39.it/home.aspx
Fonderia Box Office: opens one hour before the performance (via della Costituzione 39, Reggio Emilia).

 

Tickets are unreserved (general admission).

 

CONTACTS FOR RESERVATIONS
Phone & WhatsApp: +39 334 1023554
Email: biglietteria@aterballetto.it

PREVIOUS SEASONS

Monday 22 September H 18.00

Il combattimento di Tancredi e Clorinda

Expo 2025 Osaka - Teatro Padiglione Italia

Monday 22 September H 18.00

Notte Morricone – open session

CCN/Aterballetto

Wednesday 24 September H 18.00

Il combattimento di Tancredi e Clorinda

Expo 2025 Osaka - Teatro Padiglione Italia

Thursday 25 September H 18.00

Il combattimento di Tancredi e Clorinda

Expo 2025 Osaka - Teatro Padiglione Italia

NEXTSTOP_ PALCOSCENICO

10 June 2018 H 21:00 - 22:15

Tempesta

12 June 2018 H 19:30 - 20:40

Tempesta

13 June 2018 H 20:30 - 21:40

Tempesta

14 June 2018 H 19:30 - 20:40

Tango Glaciale Reloaded (1982 → 2018)

22 June 2018 H 18:00 - 19:00

Tempesta

22 June 2018 H 21:30 - 22:40

Tempesta

23 June 2018 H 21:30 - 22:40

Bach Project

27 June 2018 H 18:00 - 19:00

Tango Glaciale Reloaded (1982→2018)

1 July 2018 H 21:00 - 22:00

Wolf – BLISS

5 July 2018 H 21:15 - 22:30

Wolf – BLISS

6 July 2018 H 21:15 - 22:30

Bach Project

12 July 2018 H 18:00 - 19:00

IMMA

13 July 2018 H 21:00 - 22:00

Golden Days

17 July 2018 H 21:00 - 22:15

Pasiphae

23 July 2018 H 20:00

Joie de vivre

26 July 2018 H 18:00 - 19:00

Golden Days

27 July 2018 H 22:00 - 23:15

Golden Days

28 July 2018 H 22:00 - 23:15

Compagnia Simona Bertozzi / Nexus

14 September 2018 H 18:00 - 19:00

Bach Project

14 September 2018 H 21:00 - 22:30

Bach Project

15 September 2018 H 21:00 - 22:30

Bach Project

17 September 2018 H 21:00 - 22:30

Valerio Longo

26 September 2018 H 18:00 - 19:00

Compagnia Simona Bucci

29 September 2018 H 18:00 - 19:00

Compagnia Simona Bucci

30 September 2018 H 20:30 - 21:30