CATANIA La Zappalà Danza Company arrives at New York with two creations: body teaches 2.0 e Performative Speech: studio sul Fauno. The first appointment is scheduled forDecember 1st con body teaches 2.0 at the KnJ Theatre, in Manhattan. Roberto Zappalà’s creation has its conceptual roots in Patriaa work characterized by physical and emotional tasks linked to the themes of living, hospitality, contamination, as well as the rejection of oppression and discrimination. Protagonist of body teaches it is the MoDem choreographic language that Roberto Zappalà and his company have developed over the last 20 years, a language that lends itself to comparison, in the dissemination of an idea of the body capable of being welcoming, reflective and changeable.
In body teaches 2.0 the seven dancers – Samuele Arisci, Giulia Berretta, Filippo Domini, Anna Forzutti, Fernando Roldan Ferrer, Silvia Rossi, Erik Zarcone – enter into a progressive dialogue with the public, and what develops on stage is a community celebration of increasingly numerous and diverse bodies, open to sharing with others.
body teaches debuted in 2022 and was proposed in the most diverse contexts for an extended and immersive work, and its main feature is the development of new actions such as the musical reworking conceived and performed by an ensemble of 13 elements of the Teatro Massimo Orchestra Bellini di Catania or the recovery of short sequences from other creations of the choreographer. In New York the Zappalà Danza Company will present version 2.0, designed specifically to involve the American public.
The journey will continue on 3 and 4 December con Performative speech: studio sul Faunoin program all’Italian Cultural Institute of New York. In this creation, the choreographer Roberto Zappalà and the dancer Filippo Domini offer an intense mythological rereading of the faun: words, a body, a carpet and the music of Claude Debussy –Prelude to the afternoon of a faun – in the precious recording of the pianist Leonardo Zunicaintertwine in a study that explores the mysteries of desire and the intimacy of pleasure.
A “prelude” in the deepest sense of the term, which doubles the intentions of Mallarmé and Debussy, who – between verses and music – were the first to recount the famous afternoon of the mythological creature, suspended between the impetus of desire and a suffused sensuality . Just as Mallarmé’s poem moves between sleep and memory, in a “mental place” where reality, dream and desire merge, so the space of the dance – the inner world of the faun – reveals itself as an elsewhere, where exclusion, courtship and eroticism find full expression.
