Lecture performance on Martha Graham (photos)

Nooz and Rosella Simonari, photo Cristiano Marcelli.

Simona Ficosecco, photo Cristiano Marcelli.

Poster of Macerata ospitale festival, 2011.

These are two pictures from the lecture performance on Martha Graham that I deliveredin Civitanova March on September 17th, 2011. The third image refers to the festival that included my lecture performance among other events. Here is the link to the press release of the lecture and here are some more photographs from the event.

Duncan - Graham (press release and tour report)

Leaflet of the Macerata date.

 Isadora Duncan (1878-1927) and Martha Graham (1894-1991) are two fundamental North American dancers and choreographers in dance history and Western culture. they have influenced and fascinated artists, intellectuals, singers and actors such as Auguste Rodin, Andy Warhol, Edward Gordon Craig, Liza Minnelli, Gregory Peck and Woody Allen.

Rosella Simonari, photo M.T. De Roberto.

Duncan became famous as a bare-feet dancer who danced in Greek-like tunics, while the second had a tremendous impact on the audience thanks to her dramatic style centred on the movement of the torso. The former has initiated what has been defined a 'Copernican revolution' with her notion of dance in open opposition to ballet and with her fluid and 'natural' style, while the latter has further developed Duncan's legacy to forge an innovative dance technique and a large number of choregraphic works, many of which are considered masterpieces.
Both of them were charismatic and independent women, both believed that dance should not just be an entertaining art form, but also a way to reflect on the world, on women and on the dynamics of the human soul.

 The lecture performance, created by dance historian Rosella Simonari, intends to celebrate these two figures comparing passages from their writings, passages that will be read by Maria Chiara Teodori with Alessandro Fiordelmondo's specifically composed music, and that will be commented by Simonari herself.

A scene from the Jesi (ancona) date, photo Maria Teresa De Roberto.

This lecture performance had its debut at the Libreria Labotto in Jesi (Ancona) on March 8th, 2012 (photos here); it was then presented at Il Pozzo in Macerata on August 2nd, 2012 (photos here) and at the Cingoli Dance Festival in Cingoli (Macerata) on July 5th, 2013 (photos still to be uploaded).

How it all began

 

My research project on Letter to the World began in the mid 1990s with my decision to dedicate the final year dissertation of my degree in Foreign Modern Languages and Literatures (Laurea) to the relationship between Martha Graham and North American literature. I still remember when I saw the Italian translation of Graham's autobiography, Blood Memory (see photograph) on the window of one of the bookshops in my hometown. I bought it and discovered a mystic and fascinating world.
I shyly asked  my professor if I could concentrate on Graham for my dissertation and she replied that she had been thinking of suggesting a research project on Graham for a while so that my journey started under a good omen. I dedicated the last chapter of my work to Letter to the World, and I immediately realised that it was worth a much deeper analysis.
Since then I have never stopped analysing this dance which still today emerges as a masterpiece of elegance and introspection.

Letter to the World - technical info

Choreography: Martha Graham
Texts: Emily Dickinson

Dancers: Martha Graham and her Company

Music: Hunter Johnson

Set: Arch Lauterer

Costumes: Edythe Gilfond

Premiere: 11 August 1940, Bennington College Theatre, a new quite different version was done in 1941. This second version has become the version the Company has reconstructed in subsequent decades. In 1988 the Company has reconstructed it for the last time.

Video: here the reconstruction of the opening solo of The One Who Dances interpreted by Fang-Yi Sheu.

Photo: here, here, here, here.

Letter to the World is inspired by Emily Dickinson's poetry and personality. Two are the protagonists, The One Who Dances and The One Who Speaks, the first dances the most beautiful phrases in the piece, while the second utters lines from the poet's poems and letters. The other characters represent aspects of her personality and icnlude The Ancestress, who embodies Puritanism and death, The Lover, who is an actual lover and her connection to the world and March who interprets her lively wit. The main narrative thread presents the dancing protagonist engaging a fight with The Ancestress to affirm her creative independence.

My International Dance Day

Andy Warhol, Letter to the World - The Kick, 1986.

Today we celebrate the International Dance Day, a day promoted by the UNESCO International Dance Council. As a precarious and independent  dance historian I will celebrate it in an unusual way by going to a trade union meeting which deals with my part-time job, a job which economically sustains that of the historian (which is not remunerating at all for the present moment) and by regularly going back to my years long (to tell you the truth it is a question of thousands of years, but let’s not move into this direction) study on Martha Graham. I do hope the first aspect will bring good news, even though I doubt about that, with regards to the second aspect it mostly depends on me (even though it is more complicated than that, will come back to this) and I think the time has come for me to share the outcome of my research once and for all.

This research has now gained a significant political value as I have discovered that it bothers numerous people and groups in the Italian and Anglo-American academic world. It is centred on one of the most neglected Graham’s choreographic works, Letter to the World, which is dedicated to Emily Dickinson’s poetic personality. I therefore choose today to launch a kind of diary that can trace the pathways I will from time to time go through to work on this project and get it published. Good day, everybody!

NOTE – The image is one of the many screenprints Andy Warhol created on Letter to the World.

Love in a Sweet and Sour Sauce - L'amore torna (Love Returns) by the Luna Dance Theater

LOVE IN A SWEET AND SOUR SAUCE

L’amore torna (Love Returns), Luna DanceTheater

Teatro Studio alla Mole, Ancona, 3 March 2013

Simona Ficosecco in L'Amore torna (Love Returns)

Shoes, the heavy noise of high-heeled shoes is the cacophonic intro to this ironic dance theatre piece. Three women enter the stage stomping the floor with their high heels, stopping mid-stage centre with their back to the audience and taking a deep breath. It is the perfect opening for a piece about love, or better about the longing for love that makes them suffer and dream during the whole piece. A piece that had its debut in Sirolo near Ancona in 2011, was then presented in New York last year, was now showed for the first time in Ancona where the company resides and has been working since 1990 and will be in Palermo, Sicily, on September 1st.
 
Simona Ficosecco’s choreography is imaginative and lighthearted with beautiful solo pieces for herself and the two other dancers, Désirée Storani and Daniela Manetta, and energetic group pieces usually performed in unison. Her movement approach is characterized by effective repeated movements like the one in the initial part of the work, where the three dancers turn towards the audience as if to say or do something and then go back to their initial position or the one performed by Ficosecco while lying on the table, with her hands and legs frantically and insistently falling down and Storani putting them up again. 

There are three main props that fill the small stage: a table, a wooden chair and a red sofa. Three simple props that give way to interesting choreographic patterns, like the bittersweet domestic scene where Ficosecco is asked to iron a big amount of clothes, a request she questions by ironing her hair instead. Or the lyrical solo she has created for Storani on the sofa, a solo the dancer performs with a male suit jacket, the only relic left of a love relationship which seems to be gone forever. Storani wears the jacket with its back on her bosom, smells it, lays on it on the sofa in an attempt to recapture her lover’s presence. Particularly interesting is the contrast created between her loose arm movements while on the sofa and her elegant and precise body articulation in her solo on the stage floor.

In another moment Manetta performs the funniest part of the piece which is centred on her reiterated need for alcohol. Love disappoints us and drinking seems to be the only way out. She asks Ficosecco for a glass of pinkish liqueur. She gives it to her, but Manetta continues asking for it, showing each time a different posture: standing, standing on the chair, standing outside the stage with her glass in her hand coming out of the wing, laying down and so on.

The atmosphere is a bit retro with songs being played like “Tu che m’hai preso il cuor” (You are my heart’s delight in English) that acquires a parodic twist when set against Ficosecco’s choreographic inventions. In particular, this song is played when Manetta places the chair on her shoulders and starts asking for alcohol.

Ficosecco performs maybe the most spectacular phrase in the piece, dancing in a red evening dress whose skirt is later tucked up so as to leave her legs bare and Manetta throwing a bucket of white feathers at her. Cristiano Marcelli’s direction is cleverly done with a refined lighting design which highlights Ficosecco’s choreography particularly well.

All in all Ficosecco plays with the stereotypical idea of love as a romantic ideal, as the perfect union of a (heterosexual?) couple. This kind of love will never return, because it does not exist. As Eva Illouz has remarked in her groundbreaking and much debated book, WhyLove Hurts, love is also "shaped by social relations and institutions” and unveils the sharp changes that took place in the relationship between men and women during the twentieth-century. It is a lot more complex and subtle than the one displayed by the institution of marriage. It then needs to be reassessed in different terms, with a changed approach to how we live our emotions and what we expect from others.

Désirée Storani in L'Amore torna (Love Returns)

The end of the piece is, in this sense, paradigmatic with the arrival of a white dressed bride interpreted by Cristiana Taddei, followed by four male dancers, Manuel Di Gioia, Giovanni Galeazzi, Alessio Kgi Giaccaglia and Nicola Sabbatini. She sits on the chair showing her legs with them surrounding her, posing in macho-like postures and taking turns at kissing her forehead. It is funny and bitter at the same time as a sweet and sour sauce. 

Men are the great absent characters in this piece, they are evoked through the above mentioned solo with jacket and in other phrases, but they only show up as the caricature of themselves in the final scene. Does this imply that they are seen as unreliable and immature? Possibly, at least on the surface. But it also highlights the fact that women exaggerate in investing too much of their time in preparing to meet them without really trying to interact with them. There are two funny scenes, in this respect, one in which Ficosecco places evening dresses on her own dress with clothes pegs, and the other with Manetta interpreting a fortune teller who reads the cards before Ficosecco goes to her date. 

So what does the title Love Returns mean? It means a lot of things, it means that Love is a tremendous force that should be handled with care, it means it has many faces and not all of them are worth our energy and it means it should be lived with lightness and not with superficiality. Love is there, love leaves us, love returns…
 

Here a clip of the piece, which was sponsored by Amat within the Off/side Teatro del presente project, by the Ancona Municipality, the Vicolo Corto Company, Teatro Stabile delle Marche and by the Fondazione Teatro delle Muse.

Body Collision - Wim Vandekeybus' What the Body Does Not Rememer

BODY COLLISION

Wim Vandekeybus’ What the Body Does not Remember

Teatro delle Muse, Ancona, 22 February 2013

 1987: WimVandekeybus creates What the Body Does Not Remember for his company Ultima Vez and presents it in at Inteatro in Poverigi, near Ancona. The work wins international acclaim and declares the Flemish choreographer one of the most interesting and exciting voices in the contemporary dance panorama.

2013: Vandekeybus comes back in the Marche Region and presents this piece again. It looks as provocative and stimulating as sixteen years ago and is welcomed by an enthusiastic audience.

Body collide in this energetic piece. They run from one side of the stage to the other, they run one against the other, they walk, jump and frantically fight in an atmosphere of instability and alienation. There are at least six different sections highlighted by movement, light or props themes. The opening section is utterly remarkable, with two rows of floodlights set on the side of the stage placed on the stage floor and two male dancers moving in between them. Their movement then falls under the control of a sound a female dancer produces with her hands beaten or even slightly positioned on a small red table backstage centre. It is hypnotic and mesmerizing. 

Another section features the whole group of nine dancers interacting with white bricks of different dimensions. They stand on them, they throw them at each other, the throw them up in the air, they build small structures with them. If on the one hand the atmosphere recalls that of a circus, on the other the dancers’ inability to establish endurable connections creates a sense of bewilderment.

Vandekeybus’s movement approach looks approximate and imprecise, aggressive and fast, but it is the result of careful study and concept. In another section the dancers walk from backstage left to front stage right wearing, playing, throwing colourful towels. It is an ironic section where the dressing and undressing of the dancers represent a witty dynamic device.

Vandekeybus is really good at making the most out of props, like bricks or even chairs, which represent the centre of another section again characterized by a good bit of irony. In one phrase a man sits on one of the two white chairs onstage and a girl comes to sit on his knees. She falls asleep and he carefully takes his top off without waking her up. It is a tender duo where an unusual Vandekeybus emerges with respect to the tough dances he displays in the rest of the piece. 

In yet another section there are three couples showing a drastically different movment quality, with the female dancers repeatedly standing with their feet and arms in second position and their male partners touching their bodies. In this case I found Vandekeybus's insistence on this body relation a bit too reifying for women, who could have for example done the same to their male partners. According to Judith Mackrell, "Vandekeybus doesn't write particularly inventively for women" and maybe this is one good example.

So what is it that the body does not remember? Is it an everyday movement like wearing a towel or sitting on a chair? Or is it the importance of communicating, of establishing contacts between people? Maybe none of these and all of them at the same time. I really enjoyed the display of body collision and the sense of precarity (still so meaningful today!) intrinsic in the dance sections of the piece. The work was astonishingly good and the dancers a real marvel.

This event was also sponsored by Amat ad the Ancona Cultural Municipality.

Here a clip of the piece.