Thus the dance of the “imperfects” can save the boys of Naples

NoonJune 21, 2022 – 08:26

From the inaugural show of “Pompeii Theatrum Mundi” a proposal for young people: a school of performing arts. Montalvo: “Joy is deeper than sadness”

from Laura Valente

A will be famous of the different, which dance proudly returns to the stage. For non-homologated bodies, which challenge and pierce the wall of stereotypes. It’s Gloria by José Montalvo, a beautiful return to Campania (after Y Olé! In 2016, again for the Stabile) by the French choreographer. The opportunity to launch a proposal. A will be famous of the different, which dance proudly returns to the stage. For non-homologated bodies, which challenge and pierce the wall of stereotypes. Always re-emerging to the light with steps and figures that attract, involve and celebrate the vital force of every talent. It is Glory of Joseph Montalvoa nice return to Campania (after Y Olé! in 2016, again for the Stabile) of the French choreographer of Andalusian origin (his parents were political exiles who fled the Francoist regime), which makes us totally immerse ourselves in his creative world, grown up to the rhythm of the flickering of the skirts of the flamenco company, in which his mother danced.

Urban duel between styles

In an hour and ten of choreography, stories of bodies that are not right, too fat, too short, with unacceptable defects, manipulated through a mestizo and plural choreographic writing, parade.

. A single flow per continuous body that Montalvo entrusts to a company of dancers extraordinary in technique and expressive intensity, to be mentioned necessarily: Karim Ahansal (Pépito), Michael Arnaud, Rachid Aziki (ZH Flash), Sellou Nadège Blagone, Eléonore Dugué, Serge Dupont Tsakap, Samuel Florimond (Magnum), Elizabeth Gahl, Rocío Garcia, Florent Gosserez (Acrow), Rosa Herrador, Chika Nakayama, Beatriz Santiago, Denis Sithadé Ros (Sitha). An hour and ten minutes in which we witness an urban duel between styles, with flamenco taking over from hip hop, the break dance that duets from afar with the overwhelming rhythm of tribal dances, the steps on pointe that creep between the paintings, reinventing themselves with cheerful humor. And a soundtrack featuring traditional, contemporary (Nyman by Knowing The Ropes), classical (Vivaldi) and pop music.

Direct messages

Hilarious is the number in which we witness a dance of mature breasts in the wind, massaged by hands that rotate to the rhythm of festive steps. Public in delirium. Thanks to messages that pass direct and without filters, with a deliberately simple language: I dance and live, just as I am. Thanks also to the images that flow (signed by Montalvo) that bring together the sensitive themes of our time: environmental catastrophes, sick economies, inequalities, defense of animals against the commodification of men and things. It is the driving force that reaches the audience from the stage. “Joy is deeper than sadness” and every talent has a reason to exist, carrying with it its vision of humanity, Montalvo tells us, complete with a Bauschian quote “Let’s dance, we dance otherwise we are lost”. There could not have been a more symbolically powerful inauguration for this fifth edition of Pompeii Theatrum Mundi (project of the Mercadante Theater and Pompeii Archaeological Park, in collaboration with Campania dei Festival). Because seeing very young people standing to crowd the Teatro Grande on Saturday evening, while they mime a dance to the notes of Le Nombril sung by Jeanne Moreau (who may not even know who she is), must make us think.

The public

On the fact that there is a right audience for the mainstream of the very popular Gigi d’Alessio but also another audience – conquered by an unfashionable choreographer – frequently absent in the official seasons of the big theaters. They are young, very young and ask to be heard. Reduced tickets for everyone are welcome, but the future of live entertainment will be measured in harmony with one’s own time, in a skilful mix of high and popular. Because this public demands an extended and varied spectrum of materials, languages, creative intuitions. And maybe it is precisely for them that we could begin to imagine an international school of production, management and dissemination of performing arts that trains professionals of the next generations to be involved in the various phases of the long and complex entertainment chain. Montalvo tells us about lives saved by dance, about imperfect, marginal, inadequate. That art not only saves but makes healthy bearers of a policy capable of having a powerful impact on its social fabric. The complexity of the Mezzogiorno d’Italia “system” could be the analytical and experimental framework of strategies, criteria, mechanisms and tools that will facilitate the exit of culture from the manufacturing paradigm that has trapped its émpits in asphyxiated and conventional labels, orienting talents and ferments towards unexplored horizons that express the urgencies of contemporary society. In short, a paradigm of a glocal system of performing arts in which the talents of the regional territory will be able to confront and interact with the best international energies, giving life to a completely new training network. And, please, let’s not ask ourselves with what funds. There are far too many on the way. And they wouldn’t really understand.

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21 June 2022 | 08:26

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