two-out-of-three - LA BRUMA danza, arti performative e visive

TWO OUT OF THREE

“We two, how long we were fool’d,
Now transmuted, we swiftly escape as Nature escapes,
We are Nature, long have we been absent, but now we return”

We Two, How Long We Were Fool’d – Walt Whitman

‘TWO OUT OF THREE’ is an invitation to recognise the links of interdependence between us and nature. Dance and music, as forms of ancestral memory, become guides towards play, ritual, the archaic, the animal, with the desire to immerse ourselves in the metamorphic experience of life. A journey that crosses magical places and times and that, embracing an overall vision, invites us to re-consider nature as an organic canvas of pulsating and proliferating relationships, in which the human being, together with other living beings, is also a weaver.

The research intends to address the issue of Environmental Education and sustainable development, starting by reconsidering the human being as an integral part of this world, and nature as a living organism and not as a place to be traversed.

CREDITS

Creation by and with Giorgia Gasparetto and Vitus Denifl
Dance and choreography: Giorgia Gasparetto
Music and composition: Vitus Denifl
Lighting design: Marco Guidi
Dramaturgy support and scenography: Santo Pablo Krappmann
video project and photos: David Fricano

coproduction:

Tersicoreat.off Officina delle arti sceniche e performative

with the support of :
Oltrenotte
L'OBRADOR Espai de Creació
TWAIN Dance Production Centre
Tersicorea T.off Performing and scenic arts
Stadt Salzburg AirStip

Genre CONTEMPORARY DANCE AND CONCERT
Duration 30 MIN
Stage MEDIUM TO LARGE DIMENSIONS
Artistic and technical staff 2+1

TOUR

- Preview CertoFestival (Roma, ITALY)

- Incastro festival (Castroreale, ITALY)

- Deltebre Festival (Deltebre, SPAIN)

- KulturSommer Festival (Vienna, AUSTRIA)

- Festival DirezioniAltre2024 (Tuscania, ITALY)

- Rassegna Logos 2024 (Cagliari, ITALY)

- Take the A Train Festival (Salzburg, AUSTRIA)

- Rassegna “Tra sogno e realtà” Tuscania (ITALY)

Debut in 2024 at Deltebre Festival (SPAIN)

Where?

We witnessed an extraordinarily rare fusion between the delicate, animalistic, and primordial power of music and dance. The biological complexity of a tribal ecosystem begins from zero. From silence. From the floor. It rises like a cell at the dawn of time.

Reduced to primordial sound and stillness, through music and the body, they will arrive at a being more complete than the human—bodies indistinguishable between musician and performer, fused in sound and dance.

Vitus, with his instrument, does everything that begins outside a musical score: he enters the scene as an artist and source-body, as audio, performing and playing not FOR, but directly TO the dancer. Unfortunately, Italian doesn’t allow us to speak of two humanities simultaneously while exploring both in depth, so let’s pretend it’s enough to say that Vitus Denif puts all his musical tools at the service of the moment—starting with human breath and the energies of his own body, his saxophone, his loop stations.

Reversed electronics at the service of analog origins, entrusted with voices, choirs, breaths, and scenic objects accessible to all, through digital manipulation (understood as fingers and hands, not just technology as a mere medium): splintered wooden sticks, animal calls, whistles and wingbeats, and again, breaths used as if they were darts dipped in magic.

In the mouth and hands of Vitus Denif, the sax becomes a blowpipe that shoots without wounding—on the contrary, it nourishes the dance. Its darts strike the dancer, who doesn’t merely react to the music—she absorbs it, feeds on it, wears it. She does what every dancing body should do by nature.

Giorgia Gasparetto devours the music with enchanting, powerful energy and transforms it into dance that doesn’t stop at the beauty of movement—it goes beyond. She invests, gives, offers her body to the music, becoming in turn an instrument, a drum, an amplifier of sounds and rhythms. She adds explosion to fire: through dance, she multiplies the volume a hundredfold and returns it to the audience as a physical crescendo that begins from nothing and doesn’t reach infinity only because we are mortal.

And music is also time, and the time of beauty mocks but does not escape human time. Everything must return to stillness and silence. Art is what happens in the meantime.

Who knows how high those ascensions from the floor to the second level of breath might have spiraled. Who knows what animal world might have emerged from the womb of that saxophone, evolving from sound into creature (in the beginning was the sound), surpassing the human with a mocking grin, transforming into: cyborg, insect, quadruped, biped, cry and word.

Because beyond playing, the musician wears the instrument not like a garment but like a limb. A skull. A beak. He becomes the actor of his own musical emission, interacting with the dance by putting life into the saxophone. To the sound everyone expects, he adds an unexpected breath—what would technically be a musical failure (a breath emitted as an unsuccessful sound) here instead accompanies the music, in a duet between a steel lung and a mouth, amplifying the meaning of sound and overflowing into light.

What is light doing coming out of a saxophone? Everything—except being a banal choreographic trick. It embodies the vibration of music in the wave-like and particle motion of light, as if to say: “Hey, pay attention! The invisible is passing through the dancing body and is illuminating it… and is illuminating you.”

A memento from afar: everything is vibration. Dance and music are one and the same!

He kneels, crawls, approaches Giorgia who dances—and how she dances! They almost touch, like in a fresco of the Last Judgment. Both, from the lowest layer of beauty, take off through the breath of art, through the breath of the body and of music, becoming ascending currents—an enchantment.

Giorgia is dance everywhere. In the sensual and the intangible. In the sweat of her back, in the muscles that pulse, in the floor that cannot escape the rhythm of her feet, in the air surprised by feral and beastly evolutions that wrap around it when her explosive body becomes a brief, enveloping hurricane.

Energy and poetry. An explosion of petals.

Luckily, I am a poet and not a theater critic. I can only speak of what I fall in love with. And I can conclude by saying that in that new creature—which I saw originate yesterday before my eyes from the sole raw material of air—and which I admired becoming a universe—and from those two first beings—who knew how to support and merge into a single, free, untamed body—a rediscovered world remains, and a new tribe where I would like to live forever.

(Andrea Melis, Wordsmith)

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REVIEW BY ANDREA MELIS