CENERI – open rehearsal

CENERI – open rehearsal

Fonderia Reggio Emilia
5 October H 18.00
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Monday 5 October, at 6.00 pm, the Fonderia audience will have the chance to meet the choreographer and watch the preparation of Ceneri, the new creation by Marcos Morau that will premiere in November at the Teatro Valli in Reggio Emilia within the setting of Festival Aperto.

Open rehearsals are unique moments in which you can watch a performance take shape, talk with the artists and be surprised by the art of dance: a special opportunity that lets the audience into the daily routine of dancers and choreographers.

 

Dream Team

Dream Team

Fonderia Reggio Emilia
8 October H 20.30
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Gauthier Dance Juniors opens the autumn season at the Fonderia with Dream Team.

Thursday 8 October 8.30 pm / Friday 9 October 8.30 pm

Six young dancers, six international choreographers, six artistic universes: Dream Team is the new production by Gauthier Dance JUNIORS//Theaterhaus Stuttgart, the young company founded by Eric Gauthier to give space to the new generation of dance and to support it along its artistic and professional path.

From the dynamism of Lickety-Split by Alejandro Cerrudo to the sweeping FURIA by Marco Goecke, from Ohad Naharin’s reworking of Boléro to the physicality of Aszure Barton, through to the interpretations of Mauro de Candia and Virginie Brunelle, the programme moves across profoundly different languages, atmospheres and visions. A Dream Team in the most authentic sense of the term, where young performers are called to test themselves against some of the most compelling names in international contemporary choreography.

Alejandro Cerrudo: Lickety-Split

Choreography: Alejandro Cerrudo Choreographer’s assistant: Pablo Piantino Music: Devendra Banhart Costumes: Alejandro Cerrudo, Rebecca Shouse Lighting design: Ryan O’Gara World premiere: Hubbard Street Dance Chicago, Harris Theater for Music and Dance, Chicago-IL, 27.09.2006

Despite its title, Lickety-Split comes across as a rather relaxed work and, above all, a very human and playful one. To the hypnotic notes of Californian indie singer-songwriter Devendra Banhart, Alejandro Cerrudo, at the time resident choreographer of the Hubbard Street Dance Company in Chicago, stages the encounter of three couples: highly sensual, refined and with a slightly eccentric streak.

And it is precisely the tangible relationship between the three couples that keeps this work in the memory long after the performance ends. British dance critic David Mead described it this way in his review: a connection there, visible to all.

Marco Goecke: FURIA (for Gudrun)

Choreography: Marco Goecke Music: Jakob David Rattinger, Lina Tur Bonet & Musica Narrans – Folia Variations (After M. Marais & A. Corelli) Lighting design: Marco Goecke & Ludovico Pace Costumes: Michaela Springer Rehearsal direction: Ludovico Pace World premiere: Theaterhaus Stuttgart, 23.01.2026

Marco Goecke dedicated his world premiere to costume designer and Theaterhaus Stuttgart co-founder Gudrun Schretzmeier, who passed away in September 2025.

Created over an exhausting rehearsal period of just six days, FURIA represents an attempt to capture time. As his musical model, the choreographer, a long-standing resident artist of Gauthier Dance, chose the Baroque variations of the Folia by Marin Marais and Arcangelo Corelli: two compositions belonging to an era artistically obsessed with the fleeting nature of time.

“You have to fight for the time that passes,” the choreographer told the dancers during rehearsals, “fight to hold on to time, even when you realise it is slipping away.”

Ohad Naharin: B/olero

Choreography: Ohad Naharin Music: Isao Tomita’s arrangement of Maurice Ravel’s Boléro Lighting design: Avi Yona (Bambi) Bueno Costumes: Eri Nakamura Restaging: Rachael Osborne and Ian Robinson

It is hard to think of a piece of music that has been translated into dance as often, and in ways as varied and creative, as Maurice Ravel’s Boléro. Ohad Naharin too let himself be inspired by this iconic piece, but in his own way…

Not only does the title B/olero contain a slash, but the “Godfather of Gaga” also chose a synthesiser arrangement by Japanese composer Isao Tomita.

Aszure Barton: Lascilo Perdere / Duet

Choreography: Aszure Barton Music: Antonio Vivaldi – Cum dederit (Andante) from Nisi Dominus (Psalm 126), R.608 Costumes: Deanna Berg MacLean Restaging: Tobin Del Cuore

Lascilo Perdere / Duet is part of an evening-length work originally created by Aszure Barton & Artists and first presented at Joyce SoHo in 2005.

With her pas de deux drawn from Lascilo Perdere (A Journey of Letting Go), originally created for her company AB&A in 2005, Aszure Barton may have set a record for the longest and boldest kiss ever seen in a dance work.

For the entire duration of Antonio Vivaldi’s hypnotic Nisi Dominus – Cum Dederit, the new resident artist draws a couple into an almost impossible physical trial. Vivaldi had certainly never been translated into dance in this way before!

Mauro de Candia: La morte del Cigno

Choreography, lighting and costumes: Mauro de Candia Music: Camille Saint-Saëns – Le Cygne from Le Carnaval des animaux World premiere: GBM Giovane Balletto Mediterraneo, Teatro Guglielmi, Massa (Italy), 5 January 2009

Originally created in 1905 for prima ballerina Anna Pavlova, Michel Fokine’s solo set to the dreamlike music of Camille Saint-Saëns’s The Carnival of the Animals has become an emblem of classical ballet.

With La morte del Cigno, Italian choreographer Mauro de Candia offers a radically new vision of this iconic work. In his interpretation, the dying swan is embodied not by a delicate ballerina in a tutu, but by a male dancer. Without white feathers, almost naked, proud and defiant even in death.

Virginie Brunelle: High Moon

Choreography and costumes: Virginie Brunelle Choreographer’s assistant: Sophie Breton Composition: Laurier Rajotte Lighting design: Mario Daszenies World premiere: Theaterhaus Stuttgart, 23.01.2025

Virginie Brunelle is regarded as one of the great promises of Canadian dance, and Eric Gauthier too draws regularly on the talent of his compatriot. High Moon is her third creation for the company and has become one of the JUNIORS’ greatest successes: a young, dynamic and uncompromising choreography with a club-like atmosphere, accompanied by Laurier Rajotte’s original music, inspired by Maurice Ravel’s Boléro.

The dance critic of the Stuttgarter Zeitung wrote: “Living tableaux dissolve into the fog; the wild, darting movements to the techno beats set the oversized jackets dancing, and the dream team literally bounces and sways as if in a trance. The audience was spellbound. A standing ovation!”

Gauthier Dance JUNIORS//Theaterhaus Stuttgart, founded in January 2022 on the initiative of Eric Gauthier, is a project that offers children and young people opportunities for movement and social interaction while, at the same time, creating new opportunities for training and professional growth for young dancers. The JUNIORS’ commitment is not limited to educational activity, however: the company offers young dancers a path of artistic and professional development. In January 2024 came RENAISSANCE, the first production entirely produced by the JUNIORS, with new creations by Rena Butler and Barak Marshall and choreographies by Sharon Eyal, Andonis Foniadakis and Marco Goecke, as well as a short film by Eric Gauthier. In the 2024/25 season the company presented two productions, including Dream Team, with world premieres by Virginie Brunelle and Barak Marshall, works by Alejandro Cerrudo and Nacho Duato and a podcast by Eric Gauthier. In July 2025, Barak Marshall’s Barker became one of the great successes of the COLOURS International Dance Festival and, from the 2025/26 season, it was also adapted into a mobile format intended for schools. The press welcomed the JUNIORS’ journey with enthusiasm, highlighting the quality of the young dancers, the variety and strength of the programmes and describing the experience as a promising beginning for a young company of which, one hopes, we will hear and see much more.

A few years were all it took for Eric Gauthier to go from charismatic soloist of the Stuttgart Ballet to internationally renowned choreographer and artistic director of one of the most successful dance companies in Germany. Thanks in part to his extraordinary networking skills, world-renowned choreographers and talents from all over the world collaborate regularly with Gauthier Dance, including resident artists Marco Goecke, Hofesh Shechter, Barak Marshall and Aszure Barton. Gauthier’s creations have entered the repertoire of major international companies, including the Staatsballett Berlin, the Stuttgart Ballet, the Scapino Ballet Rotterdam, Het Nationale Ballet Amsterdam and the Ballet Nacional de Cuba. His ironic parodies of the dance world Ballet 101, Ballet 102 and ABC have become international hits. Gauthier has also tried his hand at other artistic genres, creating choreographies for theatre productions, music videos, cinema and large-scale productions such as ARISE at the Friedrichstadtpalast in Berlin. In 2023 he made his directorial debut with La Fest, commissioned by the Staatsoper Stuttgart, while as presenter and dance expert of the SWR documentary series Dance Around the World he guides audiences in discovering the world’s great dance cities. His accolades include the 2011 German Dance Prize “Future” for choreography and two titles awarded by tanz magazine: “Great Hope” in 2016 and “Pioneer” in 2022.

TICKETS

Full price: 10 euros
Reduced for under-30s, dance schools, Liceo Coreutico Matilde di Canossa, over-65s, members of the CRAL of the Municipality of Reggio Emilia: 6 euros
Reduced for under-8s: 3 euros

PURCHASING TICKETS

Tickets can be purchased online at www.biglietteriafonderia39.it.

The box office at the Fonderia opens one hour before the start of the performance.

Tickets are not numbered.

CONTACTS

Mobile and WhatsApp 3341023554

MicroDanze

MicroDanze

Teatro Regio Parma
9 October H 17.00
, ,

The MicroDanze at the Verdi Off of the Teatro Regio di Parma

Friday 9 and Sunday 11 October 2026 at 9.00 pm

The Verdi Off Festival of the Teatro Regio di Parma hosts a roving itinerary made up of 6 MicroDanze that move through the cultural venues of Parma’s historic centre, ending in the spaces of the Ridotto of the Teatro Regio. The MicroDanze are Afterimage by Philippe Kratz, Eppur si muove by Francesca Lattuada, Platform02 by Ina Lesnakowski, Near Life Experience by Angelin Preljocaj and Soft P. by Diego Tortelli. The sixth MicroDanza is a world premiere created for the Verdi Off, by choreographer Dunja Jocić, The Great Silence.

MicroDanze stems from an intuition of Gigi Cristoforetti for CCN/Aterballetto: to break down the invisible barrier of the stage and turn dance into an intimate, almost confidential encounter.

FND Aterballetto – MicroDanze – Afterimage – chor Philippe Kratz – ph. Celeste Lombardi

Choreography and set design Philippe Kratz
Music Pablo’s Eye
Video projections OOOPSTUDIO

A production by Fondazione Nazionale della Danza/Aterballetto
co-production Fondazione Palazzo Magnani
as part of An ideal city, a public art project in partnership with Les Halles de Schaerbeek – Brussels and Greek National Opera – Athens, co-financed by the European Union’s Creative Europe programme

Afterimage (that is, “the residual image” — the persistence on the iris of the colours we have stared at intently and at length) takes its cue from a personal account by the performer, developed on three levels that interact with one another: the form of the movement, the atmosphere of the sound experience and the colour represented by the video-animated projections.

In this case, however, Afterimage also translates as the persistence of a lived memory before our eyes, one that we do not necessarily relive chronologically, but that remains impressed upon us like a sensation into which we enter completely.

Le MicroDanze arrivano sulle colline di Canossa, in provincia di Reggio Emilia, alla Chiesa di San Bartolomeo Apostolo in Borzano.

FND Aterballetto – MicroDanze – Eppur si muove by Francesca Lattuada – ph. Christophe Bernard (9)

Choreography Francesca Lattuada
Music Ludwig Van Beethoven (Symphony No. 7 – Second movement – Allegretto)
Costumes Bruno Fatalot
Duration 5 minutes / one dancer

Wrapped in Bruno Fatalot’s refined and impalpable costume, a dancer moves solemnly on a barrel-pedestal, drawn along by the sorrowful, mysterious motif of Beethoven’s Allegretto. His dance captivates and seduces, as imposing as a song of prayer.

© Festival de Granada | Fermín Rodríguez

Choreography Ina Lesnakowski
Music Loscil
Set design Carlo Cerri

A production by Fondazione Nazionale della Danza/Aterballetto
co-production Fondazione Palazzo Magnani
as part of An ideal city, a public art project in partnership with Les Halles de Schaerbeek – Brussels and Greek National Opera – Athens, co-financed by the European Union’s Creative Europe programme

Platform02 is my first approach to choreography. The idea that inspired me is simple.
It is the challenge posed to a dancer to adapt their movement to a space that is continually reduced. A concept that fits well with the framework of the MicroDanze project, where the dancer is already required to perform in a limited space.
Certain questions, which can only become ever more pressing, trace the path of this research work of mine.
How much space do we give ourselves, and how much do we need? What are the consequences of an ever-smaller space for everyone? How much space do we want to leave to other species and to nature?
All things in life need space and resources to thrive: this holds for ourselves, for nature, for the arts.
And so, starting from here, together with Saul Daniele Ardillo I wanted to play with the relationship between space, the platform we are given, and movement — its qualities, its possibilities and its limits.

Ina Lesnakowski

Choreography Angelin Preljocaj
Music Air (Jean-Benoit Dunckel, Nicolas Godin)
Duration 9 minutes / 2 dancers

A production by Fondazione Nazionale della Danza/Aterballetto
co-production Fondazione Palazzo Magnani
as part of An ideal city, a public art project in partnership with Les Halles de Schaerbeek – Brussels and Greek National Opera – Athens, co-financed by the European Union’s Creative Europe programme

Near life experience is the exploration of the body’s different possibilities, possibilities that refer to intermediate sensations. We approach this state when we are especially close to zones that hover on the boundary of existence, which we reach when we faint, or in a trance, in moments of ecstasy or orgasm. The sense of ecstasy and of fading away, of a dazzling sensation and the attempt to externalise individuality, comes close to this experience. The subject is elsewhere, carried away from themselves, enraptured. Near life experience evokes all this; it is an attempt to withdraw oneself from space and time. A kind of eclipse of the self, a search through this imaginary amnion — a new writing in the space left empty by the body.

Angelin Preljocaj

Choreography Diego Tortelli
Music Tindersticks
Duration 6 minutes / two dancers

A production by Fondazione Nazionale della Danza / Aterballetto

Soft P. is a work for two bodies and a close gaze. The audience watches from up close, entering into a direct, almost tactile relationship. It is a dance conceived to inhabit ever-changing spaces, places not designed to hold it but transformed by its presence. Sensuality becomes the device through which these spaces are traversed and made inhabitable.

Choreography Dunja Jocić
Duration 10 minutes / two dancers

A production by Fondazione Nazionale della Danza / Aterballetto
Co-production Teatro Regio di Parma / Festival Verdi

The Great Silence draws its inspiration from the theme of this year’s edition of the Festival Verdi, “Distant worlds.” It explores the idea of distance, silence and connection between possible universes, turning into gesture and movement concepts that belong as much to the cosmos as to the inner dimension.

Dream Team

Dream Team

Fonderia Reggio Emilia
9 October H 20.30
, ,

Gauthier Dance Juniors opens the autumn season at the Fonderia with Dream Team.

Thursday 8 October 8.30 pm / Friday 9 October 8.30 pm

Six young dancers, six international choreographers, six artistic universes: Dream Team is the new production by Gauthier Dance JUNIORS//Theaterhaus Stuttgart, the young company founded by Eric Gauthier to give space to the new generation of dance and to support it along its artistic and professional path.

From the dynamism of Lickety-Split by Alejandro Cerrudo to the sweeping FURIA by Marco Goecke, from Ohad Naharin’s reworking of Boléro to the physicality of Aszure Barton, through to the interpretations of Mauro de Candia and Virginie Brunelle, the programme moves across profoundly different languages, atmospheres and visions. A Dream Team in the most authentic sense of the term, where young performers are called to test themselves against some of the most compelling names in international contemporary choreography.

Alejandro Cerrudo: Lickety-Split

Choreography: Alejandro Cerrudo Choreographer’s assistant: Pablo Piantino Music: Devendra Banhart Costumes: Alejandro Cerrudo, Rebecca Shouse Lighting design: Ryan O’Gara World premiere: Hubbard Street Dance Chicago, Harris Theater for Music and Dance, Chicago-IL, 27.09.2006

Despite its title, Lickety-Split comes across as a rather relaxed work and, above all, a very human and playful one. To the hypnotic notes of Californian indie singer-songwriter Devendra Banhart, Alejandro Cerrudo, at the time resident choreographer of the Hubbard Street Dance Company in Chicago, stages the encounter of three couples: highly sensual, refined and with a slightly eccentric streak.

And it is precisely the tangible relationship between the three couples that keeps this work in the memory long after the performance ends. British dance critic David Mead described it this way in his review: a connection there, visible to all.

Marco Goecke: FURIA (for Gudrun)

Choreography: Marco Goecke Music: Jakob David Rattinger, Lina Tur Bonet & Musica Narrans – Folia Variations (After M. Marais & A. Corelli) Lighting design: Marco Goecke & Ludovico Pace Costumes: Michaela Springer Rehearsal direction: Ludovico Pace World premiere: Theaterhaus Stuttgart, 23.01.2026

Marco Goecke dedicated his world premiere to costume designer and Theaterhaus Stuttgart co-founder Gudrun Schretzmeier, who passed away in September 2025.

Created over an exhausting rehearsal period of just six days, FURIA represents an attempt to capture time. As his musical model, the choreographer, a long-standing resident artist of Gauthier Dance, chose the Baroque variations of the Folia by Marin Marais and Arcangelo Corelli: two compositions belonging to an era artistically obsessed with the fleeting nature of time.

“You have to fight for the time that passes,” the choreographer told the dancers during rehearsals, “fight to hold on to time, even when you realise it is slipping away.”

Ohad Naharin: B/olero

Choreography: Ohad Naharin Music: Isao Tomita’s arrangement of Maurice Ravel’s Boléro Lighting design: Avi Yona (Bambi) Bueno Costumes: Eri Nakamura Restaging: Rachael Osborne and Ian Robinson

It is hard to think of a piece of music that has been translated into dance as often, and in ways as varied and creative, as Maurice Ravel’s Boléro. Ohad Naharin too let himself be inspired by this iconic piece, but in his own way…

Not only does the title B/olero contain a slash, but the “Godfather of Gaga” also chose a synthesiser arrangement by Japanese composer Isao Tomita.

Aszure Barton: Lascilo Perdere / Duet

Choreography: Aszure Barton Music: Antonio Vivaldi – Cum dederit (Andante) from Nisi Dominus (Psalm 126), R.608 Costumes: Deanna Berg MacLean Restaging: Tobin Del Cuore

Lascilo Perdere / Duet is part of an evening-length work originally created by Aszure Barton & Artists and first presented at Joyce SoHo in 2005.

With her pas de deux drawn from Lascilo Perdere (A Journey of Letting Go), originally created for her company AB&A in 2005, Aszure Barton may have set a record for the longest and boldest kiss ever seen in a dance work.

For the entire duration of Antonio Vivaldi’s hypnotic Nisi Dominus – Cum Dederit, the new resident artist draws a couple into an almost impossible physical trial. Vivaldi had certainly never been translated into dance in this way before!

Mauro de Candia: La morte del Cigno

Choreography, lighting and costumes: Mauro de Candia Music: Camille Saint-Saëns – Le Cygne from Le Carnaval des animaux World premiere: GBM Giovane Balletto Mediterraneo, Teatro Guglielmi, Massa (Italy), 5 January 2009

Originally created in 1905 for prima ballerina Anna Pavlova, Michel Fokine’s solo set to the dreamlike music of Camille Saint-Saëns’s The Carnival of the Animals has become an emblem of classical ballet.

With La morte del Cigno, Italian choreographer Mauro de Candia offers a radically new vision of this iconic work. In his interpretation, the dying swan is embodied not by a delicate ballerina in a tutu, but by a male dancer. Without white feathers, almost naked, proud and defiant even in death.

Virginie Brunelle: High Moon

Choreography and costumes: Virginie Brunelle Choreographer’s assistant: Sophie Breton Composition: Laurier Rajotte Lighting design: Mario Daszenies World premiere: Theaterhaus Stuttgart, 23.01.2025

Virginie Brunelle is regarded as one of the great promises of Canadian dance, and Eric Gauthier too draws regularly on the talent of his compatriot. High Moon is her third creation for the company and has become one of the JUNIORS’ greatest successes: a young, dynamic and uncompromising choreography with a club-like atmosphere, accompanied by Laurier Rajotte’s original music, inspired by Maurice Ravel’s Boléro.

The dance critic of the Stuttgarter Zeitung wrote: “Living tableaux dissolve into the fog; the wild, darting movements to the techno beats set the oversized jackets dancing, and the dream team literally bounces and sways as if in a trance. The audience was spellbound. A standing ovation!”

Gauthier Dance JUNIORS//Theaterhaus Stuttgart, founded in January 2022 on the initiative of Eric Gauthier, is a project that offers children and young people opportunities for movement and social interaction while, at the same time, creating new opportunities for training and professional growth for young dancers. The JUNIORS’ commitment is not limited to educational activity, however: the company offers young dancers a path of artistic and professional development. In January 2024 came RENAISSANCE, the first production entirely produced by the JUNIORS, with new creations by Rena Butler and Barak Marshall and choreographies by Sharon Eyal, Andonis Foniadakis and Marco Goecke, as well as a short film by Eric Gauthier. In the 2024/25 season the company presented two productions, including Dream Team, with world premieres by Virginie Brunelle and Barak Marshall, works by Alejandro Cerrudo and Nacho Duato and a podcast by Eric Gauthier. In July 2025, Barak Marshall’s Barker became one of the great successes of the COLOURS International Dance Festival and, from the 2025/26 season, it was also adapted into a mobile format intended for schools. The press welcomed the JUNIORS’ journey with enthusiasm, highlighting the quality of the young dancers, the variety and strength of the programmes and describing the experience as a promising beginning for a young company of which, one hopes, we will hear and see much more.

A few years were all it took for Eric Gauthier to go from charismatic soloist of the Stuttgart Ballet to internationally renowned choreographer and artistic director of one of the most successful dance companies in Germany. Thanks in part to his extraordinary networking skills, world-renowned choreographers and talents from all over the world collaborate regularly with Gauthier Dance, including resident artists Marco Goecke, Hofesh Shechter, Barak Marshall and Aszure Barton. Gauthier’s creations have entered the repertoire of major international companies, including the Staatsballett Berlin, the Stuttgart Ballet, the Scapino Ballet Rotterdam, Het Nationale Ballet Amsterdam and the Ballet Nacional de Cuba. His ironic parodies of the dance world Ballet 101, Ballet 102 and ABC have become international hits. Gauthier has also tried his hand at other artistic genres, creating choreographies for theatre productions, music videos, cinema and large-scale productions such as ARISE at the Friedrichstadtpalast in Berlin. In 2023 he made his directorial debut with La Fest, commissioned by the Staatsoper Stuttgart, while as presenter and dance expert of the SWR documentary series Dance Around the World he guides audiences in discovering the world’s great dance cities. His accolades include the 2011 German Dance Prize “Future” for choreography and two titles awarded by tanz magazine: “Great Hope” in 2016 and “Pioneer” in 2022.

TICKETS

Full price: 10 euros
Reduced for under-30s, dance schools, Liceo Coreutico Matilde di Canossa, over-65s, members of the CRAL of the Municipality of Reggio Emilia: 6 euros
Reduced for under-8s: 3 euros

PURCHASING TICKETS

Tickets can be purchased online at www.biglietteriafonderia39.it.

The box office at the Fonderia opens one hour before the start of the performance.

Tickets are not numbered.

CONTACTS

Mobile and WhatsApp 3341023554

MicroDanze

MicroDanze

Teatro Regio Parma
11 October H 15.00
, ,

The MicroDanze at the Verdi Off of the Teatro Regio di Parma

Friday 9 and Sunday 11 October 2026 at 9.00 pm

The Verdi Off Festival of the Teatro Regio di Parma hosts a roving itinerary made up of 6 MicroDanze that move through the cultural venues of Parma’s historic centre, ending in the spaces of the Ridotto of the Teatro Regio. The MicroDanze are Afterimage by Philippe Kratz, Eppur si muove by Francesca Lattuada, Platform02 by Ina Lesnakowski, Near Life Experience by Angelin Preljocaj and Soft P. by Diego Tortelli. The sixth MicroDanza is a world premiere created for the Verdi Off, by choreographer Dunja Jocić, The Great Silence.

MicroDanze stems from an intuition of Gigi Cristoforetti for CCN/Aterballetto: to break down the invisible barrier of the stage and turn dance into an intimate, almost confidential encounter.

FND Aterballetto – MicroDanze – Afterimage – chor Philippe Kratz – ph. Celeste Lombardi

Choreography and set design Philippe Kratz
Music Pablo’s Eye
Video projections OOOPSTUDIO

A production by Fondazione Nazionale della Danza/Aterballetto
co-production Fondazione Palazzo Magnani
as part of An ideal city, a public art project in partnership with Les Halles de Schaerbeek – Brussels and Greek National Opera – Athens, co-financed by the European Union’s Creative Europe programme

Afterimage (that is, “the residual image” — the persistence on the iris of the colours we have stared at intently and at length) takes its cue from a personal account by the performer, developed on three levels that interact with one another: the form of the movement, the atmosphere of the sound experience and the colour represented by the video-animated projections.

In this case, however, Afterimage also translates as the persistence of a lived memory before our eyes, one that we do not necessarily relive chronologically, but that remains impressed upon us like a sensation into which we enter completely.

Le MicroDanze arrivano sulle colline di Canossa, in provincia di Reggio Emilia, alla Chiesa di San Bartolomeo Apostolo in Borzano.

FND Aterballetto – MicroDanze – Eppur si muove by Francesca Lattuada – ph. Christophe Bernard (9)

Choreography Francesca Lattuada
Music Ludwig Van Beethoven (Symphony No. 7 – Second movement – Allegretto)
Costumes Bruno Fatalot
Duration 5 minutes / one dancer

Wrapped in Bruno Fatalot’s refined and impalpable costume, a dancer moves solemnly on a barrel-pedestal, drawn along by the sorrowful, mysterious motif of Beethoven’s Allegretto. His dance captivates and seduces, as imposing as a song of prayer.

© Festival de Granada | Fermín Rodríguez

Choreography Ina Lesnakowski
Music Loscil
Set design Carlo Cerri

A production by Fondazione Nazionale della Danza/Aterballetto
co-production Fondazione Palazzo Magnani
as part of An ideal city, a public art project in partnership with Les Halles de Schaerbeek – Brussels and Greek National Opera – Athens, co-financed by the European Union’s Creative Europe programme

Platform02 is my first approach to choreography. The idea that inspired me is simple.
It is the challenge posed to a dancer to adapt their movement to a space that is continually reduced. A concept that fits well with the framework of the MicroDanze project, where the dancer is already required to perform in a limited space.
Certain questions, which can only become ever more pressing, trace the path of this research work of mine.
How much space do we give ourselves, and how much do we need? What are the consequences of an ever-smaller space for everyone? How much space do we want to leave to other species and to nature?
All things in life need space and resources to thrive: this holds for ourselves, for nature, for the arts.
And so, starting from here, together with Saul Daniele Ardillo I wanted to play with the relationship between space, the platform we are given, and movement — its qualities, its possibilities and its limits.

Ina Lesnakowski

Choreography Angelin Preljocaj
Music Air (Jean-Benoit Dunckel, Nicolas Godin)
Duration 9 minutes / 2 dancers

A production by Fondazione Nazionale della Danza/Aterballetto
co-production Fondazione Palazzo Magnani
as part of An ideal city, a public art project in partnership with Les Halles de Schaerbeek – Brussels and Greek National Opera – Athens, co-financed by the European Union’s Creative Europe programme

Near life experience is the exploration of the body’s different possibilities, possibilities that refer to intermediate sensations. We approach this state when we are especially close to zones that hover on the boundary of existence, which we reach when we faint, or in a trance, in moments of ecstasy or orgasm. The sense of ecstasy and of fading away, of a dazzling sensation and the attempt to externalise individuality, comes close to this experience. The subject is elsewhere, carried away from themselves, enraptured. Near life experience evokes all this; it is an attempt to withdraw oneself from space and time. A kind of eclipse of the self, a search through this imaginary amnion — a new writing in the space left empty by the body.

Angelin Preljocaj

Choreography Diego Tortelli
Music Tindersticks
Duration 6 minutes / two dancers

A production by Fondazione Nazionale della Danza / Aterballetto

Soft P. is a work for two bodies and a close gaze. The audience watches from up close, entering into a direct, almost tactile relationship. It is a dance conceived to inhabit ever-changing spaces, places not designed to hold it but transformed by its presence. Sensuality becomes the device through which these spaces are traversed and made inhabitable.

Choreography Dunja Jocić
Duration 10 minutes / two dancers

A production by Fondazione Nazionale della Danza / Aterballetto
Co-production Teatro Regio di Parma / Festival Verdi

The Great Silence draws its inspiration from the theme of this year’s edition of the Festival Verdi, “Distant worlds.” It explores the idea of distance, silence and connection between possible universes, turning into gesture and movement concepts that belong as much to the cosmos as to the inner dimension.

MicroDanze

MicroDanze

Teatro Ariosto Reggio Emilia
13 October H 18.30
, , ,

At Festival Aperto, CCN/Aterballetto explores the Teatro Ariosto in Reggio Emilia with the MicroDanze

Teatro Ariosto, Tuesday 13 and Wednesday 14 October 2026, 6.30 pm / 7.30 pm / 8.30 pm

On Tuesday 13 and Wednesday 14 October the Teatro Ariosto in Reggio Emilia, as part of Festival Aperto, hosts 5 MicroDanze: Platform02 by Ina Lesnakowski, Terra Piccola by Antonella Bertoni, Afterimage by Philippe Kratz, Soft P. by Diego Tortelli and the new production The Great Silence by Dunja Jocić.

MicroDanze stems from an intuition of Gigi Cristoforetti for CCN/Aterballetto: to break down the invisible barrier of the stage and turn dance into an intimate, almost confidential encounter.

© Festival de Granada | Fermín Rodríguez

Choreography Ina Lesnakowski
Music Loscil
Set design Carlo Cerri

A production by Fondazione Nazionale della Danza/Aterballetto
co-production Fondazione Palazzo Magnani
as part of An ideal city, a public art project in partnership with Les Halles de Schaerbeek – Brussels and Greek National Opera – Athens, co-financed by the European Union’s Creative Europe programme

Platform02 is my first approach to choreography. The idea that inspired me is simple.
It is the challenge posed to a dancer to adapt their movement to a space that is continually reduced. A concept that fits well with the framework of the MicroDanze project, where the dancer is already required to perform in a limited space.
Certain questions, which can only become ever more pressing, trace the path of this research work of mine.
How much space do we give ourselves, and how much do we need? What are the consequences of an ever-smaller space for everyone? How much space do we want to leave to other species and to nature?
All things in life need space and resources to thrive: this holds for ourselves, for nature, for the arts.
And so, starting from here, together with Saul Daniele Ardillo I wanted to play with the relationship between space, the platform we are given, and movement — its qualities, its possibilities and its limits.

Ina Lesnakowski

Choreography by Antonella Bertoni
Music Kleintierschaukel – Kidz of Tibet (feat. Badau)
A production by Fondazione Nazionale della Danza / Aterballetto
Duration 10 minutes / one dancer

A body worked by the earth converses with distances, furiously in a trance, with abrupt halts; it bursts out, quivers, asks, beats, turns, runs away and laughs, leaps and flies. A compressed dance, closed within a geographical (and cultural) enclosure, that looks to the future in search of what is left of our humanity

Choreography and set design Philippe Kratz
Music Pablo’s Eye
Video projections OOOPSTUDIO

A production by Fondazione Nazionale della Danza/Aterballetto
co-production Fondazione Palazzo Magnani
as part of An ideal city, a public art project in partnership with Les Halles de Schaerbeek – Brussels and Greek National Opera – Athens, co-financed by the European Union’s Creative Europe programme

Afterimage (that is, “the residual image” — the persistence on the iris of the colours we have stared at intently and at length) takes its cue from a personal account by the performer, developed on three levels that interact with one another: the form of the movement, the atmosphere of the sound experience and the colour represented by the video-animated projections.

In this case, however, Afterimage also translates as the persistence of a lived memory before our eyes, one that we do not necessarily relive chronologically, but that remains impressed upon us like a sensation into which we enter completely.

Choreography Diego Tortelli
Music TINDERSTICKS
Duration 6 minutes / 2 dancers

A production by Fondazione Nazionale della Danza / Aterballetto

Soft P. is a work for two bodies and a close gaze. The audience watches from up close, entering into a direct, almost tactile relationship. It is a dance conceived to inhabit ever-changing spaces, places not designed to hold it but transformed by its presence. Sensuality becomes the device through which these spaces are traversed and made inhabitable.

 

Choreography Dunja Jocić
Duration 10 minutes / two dancers

A production by Fondazione Nazionale della Danza / Aterballetto
Co-production Teatro Regio di Parma / Festival Verdi

The Great Silence draws its inspiration from the theme of this year’s edition of the Festival Verdi, “Distant worlds”. It explores the idea of distance, silence and connection between possible universes, turning into gesture and movement concepts that belong as much to the cosmos as to the inner dimension.

 

MicroDanze

MicroDanze

Teatro Ariosto Reggio Emilia
14 October H 18.30
, , ,

At Festival Aperto, CCN/Aterballetto explores the Teatro Ariosto in Reggio Emilia with the MicroDanze

Teatro Ariosto, Tuesday 13 and Wednesday 14 October 2026, 6.30 pm / 7.30 pm / 8.30 pm

On Tuesday 13 and Wednesday 14 October the Teatro Ariosto in Reggio Emilia, as part of Festival Aperto, hosts 5 MicroDanze: Platform02 by Ina Lesnakowski, Terra Piccola by Antonella Bertoni, Afterimage by Philippe Kratz, Soft P. by Diego Tortelli and the new production The Great Silence by Dunja Jocić.

MicroDanze stems from an intuition of Gigi Cristoforetti for CCN/Aterballetto: to break down the invisible barrier of the stage and turn dance into an intimate, almost confidential encounter.

© Festival de Granada | Fermín Rodríguez

Choreography Ina Lesnakowski
Music Loscil
Set design Carlo Cerri

A production by Fondazione Nazionale della Danza/Aterballetto
co-production Fondazione Palazzo Magnani
as part of An ideal city, a public art project in partnership with Les Halles de Schaerbeek – Brussels and Greek National Opera – Athens, co-financed by the European Union’s Creative Europe programme

Platform02 is my first approach to choreography. The idea that inspired me is simple.
It is the challenge posed to a dancer to adapt their movement to a space that is continually reduced. A concept that fits well with the framework of the MicroDanze project, where the dancer is already required to perform in a limited space.
Certain questions, which can only become ever more pressing, trace the path of this research work of mine.
How much space do we give ourselves, and how much do we need? What are the consequences of an ever-smaller space for everyone? How much space do we want to leave to other species and to nature?
All things in life need space and resources to thrive: this holds for ourselves, for nature, for the arts.
And so, starting from here, together with Saul Daniele Ardillo I wanted to play with the relationship between space, the platform we are given, and movement — its qualities, its possibilities and its limits.

Ina Lesnakowski

Choreography by Antonella Bertoni
Music Kleintierschaukel – Kidz of Tibet (feat. Badau)
A production by Fondazione Nazionale della Danza / Aterballetto
Duration 10 minutes / one dancer

A body worked by the earth converses with distances, furiously in a trance, with abrupt halts; it bursts out, quivers, asks, beats, turns, runs away and laughs, leaps and flies. A compressed dance, closed within a geographical (and cultural) enclosure, that looks to the future in search of what is left of our humanity

Choreography and set design Philippe Kratz
Music Pablo’s Eye
Video projections OOOPSTUDIO

A production by Fondazione Nazionale della Danza/Aterballetto
co-production Fondazione Palazzo Magnani
as part of An ideal city, a public art project in partnership with Les Halles de Schaerbeek – Brussels and Greek National Opera – Athens, co-financed by the European Union’s Creative Europe programme

Afterimage (that is, “the residual image” — the persistence on the iris of the colours we have stared at intently and at length) takes its cue from a personal account by the performer, developed on three levels that interact with one another: the form of the movement, the atmosphere of the sound experience and the colour represented by the video-animated projections.

In this case, however, Afterimage also translates as the persistence of a lived memory before our eyes, one that we do not necessarily relive chronologically, but that remains impressed upon us like a sensation into which we enter completely.

Choreography Diego Tortelli
Music TINDERSTICKS
Duration 6 minutes / 2 dancers

A production by Fondazione Nazionale della Danza / Aterballetto

Soft P. is a work for two bodies and a close gaze. The audience watches from up close, entering into a direct, almost tactile relationship. It is a dance conceived to inhabit ever-changing spaces, places not designed to hold it but transformed by its presence. Sensuality becomes the device through which these spaces are traversed and made inhabitable.

 

Choreography Dunja Jocić
Duration 10 minutes / two dancers

A production by Fondazione Nazionale della Danza / Aterballetto
Co-production Teatro Regio di Parma / Festival Verdi

The Great Silence draws its inspiration from the theme of this year’s edition of the Festival Verdi, “Distant worlds”. It explores the idea of distance, silence and connection between possible universes, turning into gesture and movement concepts that belong as much to the cosmos as to the inner dimension.

 

POSSO SOLO CREDERE AD UNA DEA CHE DANZA

POSSO SOLO CREDERE AD UNA DEA CHE DANZA

Fonderia Reggio Emilia
15 October H 20.30
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At the Fonderia, dancers in revolution: Marianna Basso goes back to the early 1900s.

Thursday 15 October 8.30 pm – premiere

In 1900 Frank Wedekind wrote a perfect tale, Mine Haha, about a dance school that is also a place of imprisonment. It was this dark fairy tale that inspired Dario Argento’s Suspiria. Luca Scarlini tells this dark fairy tale together with the revolution in dance brought about at the beginning of the 1900s by a series of extraordinary women dancers, between the United States and Europe. They often had no classical training, or they moved across other art forms. In this context, Marianna Basso does not reproduce famous choreographies, but revisits territories of the choreographic imagination that radically changed the twentieth century.

A danced fairy tale based on Mine-Haha by Frank Wedekind
and on the dances of Charlotte Bara, Anita Berber, Clotilde von Derp, Anieka Leggett, Mary Wigman
Choreography: Marianna Basso
With: Marianna Basso, Vitapia Motta, Linda Pasquini
Music: Spartaco Cortesi

A production by Stazione Utopia
With the support of the Ministry of Culture and SIAE, as part of the “Per Chi Crea” programme
In collaboration with CCN/Aterballetto

Marianna Basso is a freelance choreographer, performer and, since 2022, co-director of the collective NANOUK.
An associate artist supported by HOUSE OF IVONA (Pablo Girolami), she develops a research into the human with a strong focus on authorial growth; her creations have been programmed by leading national and international venues and festivals such as Festival Aperto, Mas Danza Festival, Tanzplattform Bern, Nutida Festival, VISAVÌ and others.
In parallel she founded ACNE, Junior Company, out of a deep need to support young talent and bring it into the professional world, with the support of Il Gecko Tarantasca ssdarl.

TICKETS

Full price: 10 euros
Reduced for under-30s, dance schools, Liceo Coreutico Matilde di Canossa, over-65s, members of the CRAL of the Municipality of Reggio Emilia: 6 euros
Reduced for under-8s: 3 euros

PURCHASING TICKETS

Tickets can be purchased online at www.biglietteriafonderia39.it.

The box office at the Fonderia opens one hour before the start of the performance.

Tickets are not numbered.

CONTACTS

Mobile and WhatsApp 3341023554

The Wall_Dance Tribute

The Wall_Dance Tribute

Fonderia Reggio Emilia
22 October H 20.30
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At the Fonderia, MMCDC dances in the footsteps of The Wall.

Thursday 22 October 8.30 pm

The Wall_Dance Tribute, with the dancers of the MM Contemporary Dance Company, directed by Michele Merola, and actor Jacopo Trebbi, comes to life from the Pink Floyd’s historic concept album (1979).

The Wall is an act of protest against a society that denies the individual the possibility of being free and authentic. The story of the rock star Pink, Roger Waters’s alter ego, unfolds through the album’s tracks: a mother’s suffocating love, a marriage marked by absence, drugs, the father’s death in the war, the bullying of a frustrated teacher and the pressures of show business become, one after another, the bricks of a wall that separates the man from the world.

Yet in the darkest and most alienating moment, the will emerges to tear down that wall, to break free from oppression and strip away the masks.

 
https://vimeo.com/1176650427

Company: MM Contemporary Dance Company
Choreography: Michele Merola
Music: Pink Floyd
Direction: Manuel Renga
Dramaturgy: Emanuele Aldrovandi
Video direction: Fabio Massimo Iaquone
Lighting design: Gessica Germini
Costumes: Nuvia Valestri
Actor: Jacopo Trebbi
Dancers: Filippo Begnozzi, Mario Genovese, Paolo Giovanni Grosso, Aurora Lattanzi, Fabiana Lonardo, Federico Musumeci, Giorgia Raffetto, Alice Ruspaggiari, Diletta Savini, Nicola Stasi, Giuseppe Villarosa

Production Fondazione Teatro Comunale di Ferrara, Fondazione I Teatri di Reggio Emilia, Ravenna Festival, MM Contemporary Dance Company

The MM Contemporary Dance Company is a contemporary dance company directed by choreographer Michele Merola, founded in 1999 in Reggio Emilia.

The company’s repertoire is rich and varied, thanks to the works of Michele Merola and of European and Italian choreographers such as Maguy Marin, Mats Ek, Mauro Bigonzetti, Silvia Gribaudi, Enrico Morelli and many others.

In 2010 the MM Contemporary Dance Company won the prestigious Premio Danza&Danza as best emerging company, and today it is, to all intents and purposes, a centre of excellence in Italian dance, with a well-established programme of performances throughout the country. In recent years it has won over an international market, with performances in European and non-European countries.

In 2022 MMCDC won the Premio Danza&Danza for best Italian production with the show Ballade (chor. Mauro Bigonzetti, Enrico Morelli) and in 2024 the Premio Danza&Danza for the Enhancement of Repertoire, for Maguy Marin’s Grosse Fugue.

Michele Merola is artistic director of the MM Contemporary Dance Company, the contemporary dance company he founded in 1999 in Reggio Emilia. With it, Merola has brought many of his choreographies to the stage, both in Italy and abroad, including La metà dell’ombra, winner of the Anita Bucchi prize in 2010, and Bolero, Premio Europaindanza 2017 – Award of Merit for choreography.

Since 2000 he has created numerous works for other companies, including Aterballetto, the Teatro San Carlo in Naples, the Dominic Walsh Dance Theatre, the Teatro Massimo in Palermo, the Junior Balletto di Toscana, the National Theatre of Belgrade, the Tanzcompagnie Landesbühnen Sachsen in Dresden, and the Teatro dell’Opera di Roma. In 2003 he won the International Choreography Competition in Hannover, in 2008 the Premio Positano Leonide Massine for the Art of Dance, in 2016 the Premio Giornale della Danza Award as Best Italian Choreographer, in 2018 the Premio Incontro con la Danza of Basilicata ArteDanza, and in 2019 the Premio Metti le ali al Talento for his career and artistic direction of MMCDC.

Since 2010 Merola has been, together with Enrico Morelli, artistic director of the Agora Coaching Project, a professional development programme for dancers based in Reggio Emilia.

TICKETS

Full price: 10 euros
Reduced for under-30s, dance schools, Liceo Coreutico Matilde di Canossa, over-65s, members of the CRAL of the Municipality of Reggio Emilia: 6 euros
Reduced for under-8s: 3 euros

PURCHASING TICKETS

Tickets can be purchased online at www.biglietteriafonderia39.it.

The box office at the Fonderia opens one hour before the start of the performance.

Tickets are not numbered.

CONTATTI

Cell and WhatsApp 3341023554

DOPPIOGIOCO – open rehearsal

DOPPIOGIOCO – open rehearsal

Fonderia Reggio Emilia
26 October H 18.00
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Monday 26 October, at 6.00 pm, the Fonderia audience will have the chance to meet the choreographer and watch the preparation of DOPPIOGIOCO, the new creation by Philippe Kratz with dramaturgy and set design by Fabio Cherstich, which will premiere in November at the Teatro Valli in Reggio Emilia within the setting of Festival Aperto.

Open rehearsals are unique moments in which you can watch a performance take shape, talk with the artists and be surprised by the art of dance: a special opportunity that lets the audience into the daily routine of dancers and choreographers.

 

Un canto necessario (Antigone) – premiere

Un canto necessario (Antigone) – premiere

Fonderia Reggio Emilia
4 November H 20.30
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Natiscalzi’s Antigone at Danza in Fonderia.

Wednesday 4 November 8.30 pm

Where does the possibility of saying “no” reside today? What does it mean to “witness” in a world saturated with images of suffering? Are we witnesses or accomplices? And what does the ancient gesture of burying our dead ask of us? What social pact are we willing to break for an act of pure compassion?
ANTIGONE resounds once more. It returns as sound (Mendelssohn and Cordaro). It returns as body (the ensemble of dancers). It returns as a question. In Natiscalzi‘s project, this return transforms the stage into a site of physical research on the crisis of dualism, into a territory of conflict but also into a contemporary rite capable of generating urgent questions.
This year too, the company continues its research through a dialogue with the classics, starting from Sophocles’s Antigone and its most contemporary reworkings, to immerse itself in the questions of the present time.

Concept: Natiscalzi DT
Choreography: Claudia Rossi Valli and Tommaso Monza
With: Marco Bissoli, Julia Canard, Serena Gelsomini, Alberto Gnola, Elena Grappi, Federico Russo
Sound design and original music: Giuseppe Cordaro
Voice and singing: Francesca Sartorato
Video: Natiscalzi DT
Production cinqueminuti APS/R.A.D. Rete Artistica Danza
with the support of MIC and Regione Emilia-Romagna

Natiscalzi Danza Teatro was born from the shared creative path of Tommaso Monza and Claudia Rossi Valli, a collaboration that began in 2012 and has been carried forward successfully over the years. The company initially developed as an offshoot of the Abbondanza/Bertoni company, before asserting its own independent identity in 2016, establishing itself as a cultural association after years of projects, productions, residencies and tours.

From 7.30 pm to 8.30 pm
Aperitif in collaboration with Georgette.

TICKETS

Full price: 10 euros
Reduced for under-30s, dance schools, Liceo Coreutico Matilde di Canossa, over-65s, members of the CRAL of the Municipality of Reggio Emilia: 6 euros
Reduced for under-8s: 3 euros

PURCHASING TICKETS

Tickets can be purchased online at www.biglietteriafonderia39.it.

The box office at the Fonderia opens one hour before the start of the performance.

Tickets are not numbered.

CONTACTS

Mobile and WhatsApp 3341023554

CENERI / DOPPIOGIOCO

CENERI / DOPPIOGIOCO

Teatro Municipale Valli Reggio Emilia
7 November H 20.30

 

On the occasion of Festival Aperto, CCN/Aterballetto presents the world premieres of Ceneri by Marcos Morau and DOPPIOGIOCO by Philippe Kratz.

Teatro Municipale Romolo Valli – Saturday 7 November 2026 at 8.30 pm and Sunday 8 November 2026 at 5.00 pm

The Centro Coreografico Nazionale / Aterballetto presents the world premiere of an evening made up of two new creations by some of the most compelling authors on the contemporary scene: Ceneri by Marcos Morau and DOPPIOGIOCO by Philippe Kratz, with dramaturgy and set design by Fabio Cherstich.

A performance marking Marcos Morau’s return to CCN/Aterballetto following the success of Notte Morricone. For his new creation, Ceneri, the choreographer draws inspiration from Le ceneri di Gramsci, a musical adaptation of Pier Paolo Pasolini’s poetry collection, composed as a choral oratorio by Giovanna Marini, as a starting point for a reflection on community, its loss, and what remains when a collective form dissolves. Alongside it, Philippe Kratz, a former lead dancer of the company and a choreographer well established on the international scene, creates DOPPIOGIOCO, a new work for eight dancers in which basketball becomes a metaphor for conflict, belonging and sudden synchronisation. Two different languages that together question how bodies organise, divide and recompose themselves.

Ceneri

Direction and choreography Marcos Morau
Music Le ceneri di Gramsci by Giovanna Marini. Recording release “I Dischi di Angelica” – Block Nota, 2006
Sound design and original music Alex Röser Vatiché, Ben Meerwein
Costume design Silvia Delagneau
Lighting design CUBE.bz
Choreographer’s assistants Shay Partush, Fabio Calvisi
Special thanks to Sartoria Fondazione I Teatri

Production Fondazione Nazionale Della Danza / Aterballetto
Co-Production Festival Aperto / Fondazione I Teatri di Reggio Emilia
In collaboration with AngelicA | Music Research Centre – Bologna

What begins as a collective celebration gradually turns into a ceremony of farewell. Some bodies are pushed away, veiled and symbolically buried by those who remain. Ash and water fall upon them in a gesture that wavers between punishment, mourning and blessing.
Since ancient times, communities have built rituals to honour their dead and safeguard their memory. To bury, cover, wash or keep vigil over a body has never been merely an act of farewell, but also a way of acknowledging that individual existence lives on within collective history. The dead remain among the living through remembrance, shared stories and the gestures that a community chooses to preserve.
In Ceneri, ash evokes both disappearance and permanence. It is what remains after the passage of time, but it is also the material trace of a life that refuses to vanish completely. Water, by contrast, acts as an element of transition and transformation: it purifies, accompanies, blesses and allows the passage from one state to another. Together, ash and water turn the scene into an ambiguous rite, in which we do not know whether we are witnessing an expulsion, a funeral or a gesture of collective love.
Dance, word, music and the force of the chorus transform the stage into a space of political and emotional confrontation. As in Pasolini, the ashes are not merely the residue of something that has vanished. They are the persistent trace of a question that continues to accompany us.
The most contemporary image of the work is not only that of a community immunising itself against the other, but that of a generation desperately seeking to belong to something while fearing the loss of what makes it unique. In this tension, Gramsci, Pasolini and our present converge.

Marcos Morau – director and choreographer

DOPPIOGIOCO

Choreography Philippe Kratz
Dramaturgy and set design Fabio Cherstich
Additional music Various artists
Sound design and original music Luca Maria Baldini
Costume design Patricia Villirillo
Costume making Nuvia Valestri
Lighting design Valerio Tiberi

Production Fondazione Nazionale della Danza / Aterballetto
Co-Production Festival Aperto / Fondazione I Teatri di Reggio Emilia

Inside a black box, the space is etched with strips of white light: a ring, a court, a boundary that presumes to decide who we are. Two twin hoops, doubled, are motionless sentinels, totems of conquest and failure, targets that shine or dim depending on who looks at them. Everything is ready and nothing is stable: the game can begin at any moment, even when no one is truly ready.
The bodies enter, recognise one another, distrust one another, split into teams without knowing why, form alliances by instinct, betray one another out of necessity. Every gesture is an attempt, quivering like an omen; every step is a calculation or a tremor. The warm-up does not prepare — it reveals: the tensions, the suspicions, the silences before the burst.
At the centre, the ball. Weight, promise, threat. When it falls, it explodes: it is not a bounce but a bomb that opens cracks in the ground, in the breath, in the relationship between the bodies. Every pass is a risk, every shot a confession. You entrust yourself to the other by instinct, or you strike them with the precision of a necessary gesture. You protect and you wound with the very same energy.
Blind shots cross the air like prayers or challenges flung into the void: whoever throws cannot know whether they will hit the target or the memory of a missed intention. In that suspended instant everyone holds their breath: it is not the basket that matters, but the courage not to look, to let go of what cannot be controlled.
And then the group explodes, implodes, devours itself, sustains itself. One against all. All against one. Crowd against solitude, and a solitude that at times cries out louder than the crowd. Rules exist only to be broken; the ring is a cage only for those who do not dare to cross it. You push one another, lift one another, obstruct one another as in every day of our lives, where love and competition coexist in the same gesture.
But at a certain point, without warning, the bodies synchronise. The two teams dissolve, recomposing into a single breathing creature. It is a fragile, absolute moment: the geometry of the court becomes a guide, no longer a barrier. Conflict turns into dance, struggle becomes listening. There is no longer a victory to seek, only a sudden equilibrium, precious as a truce.
Then chaos returns, because it is in our nature. Alliances come undone, the ball’s trajectory breaks again in the air, multiplying like doubts, like attempts. The balls fall one after another, slow bombs that recount what has been lost and what might still come to pass.

Fabio Cherstich – Dramaturgy and set design

PREVIOUS SEASONS

Monday 5 October H 18.00

CENERI – open rehearsal

Aterballetto | Marcos Morau

Thursday 8 October H 20.30

Dream Team

Gauthier Dance Juniors - Fonderia, Reggio Emilia

Friday 9 October H 17.00

MicroDanze

Parma - Verdi Off - Teatro Regio

Friday 9 October H 20.30

Dream Team

Gauthier Dance Juniors - Fonderia, Reggio Emilia

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