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T.R.I.P.O.F.O.B.I.A
Pablo Girolami dances through the voids of fear at Fonderia.
The fear of holes—or rather, of all those small geometric shapes that, when clustered together, create tiny openings. Geometry is the medium through which a trypophobic skeleton takes shape; only through the imaginative contribution of the human mind does it become an active gateway to fear and anguish, reflecting human insecurities and paranoias.
Performed together with Giacomo Todeschi, T.R.I.P.O.F.O.B.I.A is a plunge into the body, into its geometries and its irregularities.
Facing a fear is no easy game. The risks are real, but the outcome is certainly worth it. It seems that playing the game rather implies accepting not to play at all. With T.R.I.P.O.F.O.B.I.A., we choose to accept the challenge, transforming ourselves into the parasites that creep into its tunnels.
https://youtu.be/p6xNmt6SWng?si=i36FcuHLfEfSaGQx
Cry Violet
Panzetti / Ticconi: dance between expiation and greenwashing at Fonderia.
CRY VIOLET, named after the extinct flower of the same name, is a choreographic creation by and with Panzetti / Ticconi, set to a sound composition conceived and performed by Teho Teardo.
Using a gestural code that evokes expressions of pain and shame inspired by the iconography of original sin, the work highlights the human tendency to atone for guilt through practices that attempt either to repair environmental damage already done or to conceal it. Widespread phenomena such as greenwashing, in fact, represent deceptive practices that evade real solutions to the damage human action has inflicted on the environment.
Actions such as cleaning merge with crying. In this context, a common object like a cloth or handkerchief transforms its function—from a cleaning tool into an element that holds pain, absorbing tears. Echoing Lady Macbeth’s repeated and futile gesture of trying to wash away the mark of guilt from her hands, the two performers trace the mechanical ritual of cleaning and concealing. It is within this limbo—between genuine attempts and merely superficial efforts to repair the damage—that CRY VIOLET takes shape, in a shifting complicity between the aestheticisation of guilt and the act of resolving or hiding it, until guilt itself becomes an appealing, seductive, almost promotional material.
“(…) the choreographic elegance of Panzetti/Ticconi meets the musical energy of Teho Teardo. The composer, musician and sound designer—winner of the David di Donatello for Best Original Score for the soundtrack of Il Divo by Paolo Sorrentino—has long explored stimuli from other artistic forms. He dedicates himself to concert and recording activities, investigating the relationship between electronic music and traditional instruments, as well as creating sound installations and composing for cinema, television series, and theatre.”
Esplorazioni-Triennale.org
https://youtu.be/nMbfqoJ_y48?si=CDC4NKCwYyU_1Y-E
NOTTE MORRICONE
As part of the Belgrade Dance Festival, Aterballetto performs Notte Morricone by Marcos Morau at the Serbian National Theatre in Novi Sad.
“I, Ennio Morricone, am dead,” wrote the composer before taking his leave. His music, however, cannot die. And so it is that creators and artists always leave us without ever truly leaving — this is how memory takes care to keep them alive, to keep 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 of paper, jotting down notes and imagining melodies for films that do not yet exist, reviving stories in the rarefied air of his room.
Marcos Morau – Director and Choreographer
It is impossible to describe Notte Morricone, a masterful work that comes to the spectator in waves — embracing with emotional surges, capturing through the memory of timeless melodies that have long outlived the images that first inspired them. The choreography, too, is exquisite: finely crafted and always poetic, composed with meticulous attention to detail. Legs and necks seem jointless, bending and snapping rhythmically like metronomes.
Maria Luisa Buzzi – Danza&Danza
Duration: 90 minutes
Cry Violet
Panzetti / Ticconi: dance between expiation and greenwashing at Fonderia.
CRY VIOLET, named after the extinct flower of the same name, is a choreographic creation by and with Panzetti / Ticconi, set to a sound composition conceived and performed by Teho Teardo.
Using a gestural code that evokes expressions of pain and shame inspired by the iconography of original sin, the work highlights the human tendency to atone for guilt through practices that attempt either to repair environmental damage already done or to conceal it. Widespread phenomena such as greenwashing, in fact, represent deceptive practices that evade real solutions to the damage human action has inflicted on the environment.
Actions such as cleaning merge with crying. In this context, a common object like a cloth or handkerchief transforms its function—from a cleaning tool into an element that holds pain, absorbing tears. Echoing Lady Macbeth’s repeated and futile gesture of trying to wash away the mark of guilt from her hands, the two performers trace the mechanical ritual of cleaning and concealing. It is within this limbo—between genuine attempts and merely superficial efforts to repair the damage—that CRY VIOLET takes shape, in a shifting complicity between the aestheticisation of guilt and the act of resolving or hiding it, until guilt itself becomes an appealing, seductive, almost promotional material.
“(…) the choreographic elegance of Panzetti/Ticconi meets the musical energy of Teho Teardo. The composer, musician and sound designer—winner of the David di Donatello for Best Original Score for the soundtrack of Il Divo by Paolo Sorrentino—has long explored stimuli from other artistic forms. He dedicates himself to concert and recording activities, investigating the relationship between electronic music and traditional instruments, as well as creating sound installations and composing for cinema, television series, and theatre.”
Esplorazioni-Triennale.org
https://youtu.be/nMbfqoJ_y48?si=CDC4NKCwYyU_1Y-E
NOTTE MORRICONE
On April 11, 2026, Aterballetto performs Notte Morricone by Marcos Morau at the Teatro Regio in Parma.
“I, Ennio Morricone, am dead,” wrote the composer before taking his leave. His music, however, cannot die. This is how creators and artists always leave us without ever truly leaving, and how memory takes care to keep them alive, to keep 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 spirit who, alone and dazed before his papers, jots down notes and envisions 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 work that washes over the spectator in waves, embraces them with emotional currents, and captivates them with the memory of timeless melodies that have long outlived the images that first inspired them. Equally enchanting is the finely chiselled, ever-poetic choreography, composed with meticulous attention to detail: legs and necks seem jointless, bending and snapping rhythmically like metronomes.
Maria Luisa Buzzi – Danza&Danza
Duration: 90 minutes
Find out more »
STELLA
Luciano Padovani brings the dance of the Years of Lead to Fonderia.
Rome, Saturday 18 March 1978.
An orange commercial envelope is found in an underpass at Largo di Torre Argentina, containing a Polaroid photograph: the portrait of a man in shirtsleeves, a flag with a five-pointed star… and communiqué no. 1 of the Red Brigades.
The years of desire and lead, in a danced fragment of republican Italy.
The lived experience of choreographer Luciano Padovani becomes, in STELLA, material shaped through the bodies and voices of the two performers: Roberta Piazza and Andrea Rizzo.
With them, we enter a brigatist hideout—that hideout… an interior scene inhabited and stirred by intense emotions and moments of great humanity and poetry. A warm atmosphere made of illusions and projections, masterfully suggested by costume designer Lucia Lapolla.
Elisabetta Calvi
https://youtu.be/2Ju8v8nh5lo?si=50WffQBk6J1O9wwD
NOTTE MORRICONE
From April 23 to 26, 2026, Aterballetto performs Notte Morricone by Marcos Morau at the Teatro Carignano in Turin for Torinodanza Extra.
“I, Ennio Morricone, am dead,” wrote the composer before taking his leave. His music, however, cannot die. This is how creators and artists always leave us without ever truly leaving, and how memory takes care to keep them alive, to keep 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 spirit who, alone and dazed before his papers, jots down notes and envisions 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 work that washes over the spectator in waves, embraces them with emotional currents, and captivates them with the memory of timeless melodies that have long outlived the images that first inspired them. Equally enchanting is the finely chiselled, ever-poetic choreography, composed with meticulous attention to detail: legs and necks seem jointless, bending and snapping rhythmically like metronomes.
Maria Luisa Buzzi – Danza&Danza
Duration: 90 minutes
Find out more »
NOTTE MORRICONE
From April 23 to 26, 2026, Aterballetto performs Notte Morricone by Marcos Morau at the Teatro Carignano in Turin for Torinodanza Extra.
“I, Ennio Morricone, am dead,” wrote the composer before taking his leave. His music, however, cannot die. This is how creators and artists always leave us without ever truly leaving, and how memory takes care to keep them alive, to keep 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 spirit who, alone and dazed before his papers, jots down notes and envisions 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 work that washes over the spectator in waves, embraces them with emotional currents, and captivates them with the memory of timeless melodies that have long outlived the images that first inspired them. Equally enchanting is the finely chiselled, ever-poetic choreography, composed with meticulous attention to detail: legs and necks seem jointless, bending and snapping rhythmically like metronomes.
Maria Luisa Buzzi – Danza&Danza
Duration: 90 minutes
Find out more »
NOTTE MORRICONE
Dal 22 al 26 aprile 2026 Aterballetto danza Notte Morricone di Marcos Morau al Teatro Carignano di Torino per il Torinodanza Extra.
“Io, Ennio Morricone, sono morto”, scrisse il compositore prima di congedarsi. La sua musica, invece, non può farlo. Ed è così che i creatori e gli artisti sempre ci lasciano senza lasciarci, ed è in questo modo che la memoria si preoccupa di tenerli vivi, di tenerli al sicuro. Notte Morricone è il mio regalo, un devoto tributo alla bellezza che ha donato al mondo.
Notte Morricone si svolge nel crepuscolo di una notte ordinaria nella vita di un creativo, che solo e stordito davanti ai suoi fogli, prende appunti e visualizza melodie per film che non esistono ancora, riportando in vita storie nell’aria rarefatta della sua stanza.
Marcos Morau – Regista e coreografo
Impossibile descrivere Notte Morricone, pezzo magistrale che arriva a flutti allo spettatore, lo abbraccia con onde emotive, lo cattura nella memoria di melodie intramontabili sopravvissute di gran lunga alle immagini che le hanno generate. Incantevole pure la coreografia cesellata e sempre poetica, composta con maniacale attenzione al dettaglio: gambe e collo sembrano privi di giunture, si flettono e scattano ritmicamente come metronomi.
Maria Luisa Buzzi – Danza&Danza
Durata 90′
NOTTE MORRICONE
Dal 22 al 26 aprile 2026 Aterballetto danza Notte Morricone di Marcos Morau al Teatro Carignano di Torino per il Torinodanza Extra.
“Io, Ennio Morricone, sono morto”, scrisse il compositore prima di congedarsi. La sua musica, invece, non può farlo. Ed è così che i creatori e gli artisti sempre ci lasciano senza lasciarci, ed è in questo modo che la memoria si preoccupa di tenerli vivi, di tenerli al sicuro. Notte Morricone è il mio regalo, un devoto tributo alla bellezza che ha donato al mondo.
Notte Morricone si svolge nel crepuscolo di una notte ordinaria nella vita di un creativo, che solo e stordito davanti ai suoi fogli, prende appunti e visualizza melodie per film che non esistono ancora, riportando in vita storie nell’aria rarefatta della sua stanza.
Marcos Morau – Regista e coreografo
Impossibile descrivere Notte Morricone, pezzo magistrale che arriva a flutti allo spettatore, lo abbraccia con onde emotive, lo cattura nella memoria di melodie intramontabili sopravvissute di gran lunga alle immagini che le hanno generate. Incantevole pure la coreografia cesellata e sempre poetica, composta con maniacale attenzione al dettaglio: gambe e collo sembrano privi di giunture, si flettono e scattano ritmicamente come metronomi.
Maria Luisa Buzzi – Danza&Danza
Durata 90′
NOTTE MORRICONE
Dal 22 al 26 aprile 2026 Aterballetto danza Notte Morricone di Marcos Morau al Teatro Carignano di Torino per il Torinodanza Extra.
“Io, Ennio Morricone, sono morto”, scrisse il compositore prima di congedarsi. La sua musica, invece, non può farlo. Ed è così che i creatori e gli artisti sempre ci lasciano senza lasciarci, ed è in questo modo che la memoria si preoccupa di tenerli vivi, di tenerli al sicuro. Notte Morricone è il mio regalo, un devoto tributo alla bellezza che ha donato al mondo.
Notte Morricone si svolge nel crepuscolo di una notte ordinaria nella vita di un creativo, che solo e stordito davanti ai suoi fogli, prende appunti e visualizza melodie per film che non esistono ancora, riportando in vita storie nell’aria rarefatta della sua stanza.
Marcos Morau – Regista e coreografo
Impossibile descrivere Notte Morricone, pezzo magistrale che arriva a flutti allo spettatore, lo abbraccia con onde emotive, lo cattura nella memoria di melodie intramontabili sopravvissute di gran lunga alle immagini che le hanno generate. Incantevole pure la coreografia cesellata e sempre poetica, composta con maniacale attenzione al dettaglio: gambe e collo sembrano privi di giunture, si flettono e scattano ritmicamente come metronomi.
Maria Luisa Buzzi – Danza&Danza
Durata 90′
Spellbound Evening, choreographies by Mauro Astolfi
Mauro Astolfi presents three choreographies created for his company at Danza in Fonderia.
On the occasion of International Dance Day, Fonderia hosts three choreographies by Mauro Astolfi for his company Spellbound Contemporary Ballet. On stage are Trust, If you were a man, and Holy Shift—three works that explore relationships, listening, and transformation through the language of dance.
