Choreography Carlotta Sagna and Caterina Sagna
Presented by Viviane de Muynck (english and french version), or Daniela Bisconti (italian version)
With Alessandro Bernardeschi, Claire Croizé, Lisa Gunstone, Antonio Montanile, Mauro Paccagnella, Carlotta Sagna, Caterina Sagna
Dramaturgy Roberto Fratini Serafide
Costumes Tobia Ercolino
Light design Nuccio Marino
Light Philippe Gladieux
Sound Carlo Bottos
Production Manager Nicolò Stabile
Production Creation Association Next / Tours Association Al Dente
Coproduction Théâtre de la Ville - Paris, la Biennale di Venezia, Halle aux Grains - Blois (F), Centre National de la Danse - Paris (F)
Thanks to Needcompany - Brussels (B)
Open rehearsal, work in progress, press conference, Public Relation reports "live" the meeting between a dance company and its public, showing the thousands of creative indecisions and practical mishaps preceding that solved (or unsolved) doubt which is a performance. The public is called to attend a "tour de force" of a peculiar kind: a performance dreamed, planned and almost carried out, starting from the title, will be undone under everybody’s eyes, to recover or to pretend that incompletedness which makes a work of art debatable. In as silent a realm as movement is, one accepts the challenge (or commits the fatal mistake) to express oneself in words and to lean oneself for the period of an evening to the crutches of dialogue. Improvisations, extemporary discussions, exhibitions of the work through fragments or in stages, live sketches, finishing touches, training. Everything (except the banality) will be shown of the performance which will be or has been, along with the risks, the accidents, the blind alleys and the fickle handicaps therein, which can produce, night after night, undesirable collateral effects.
The finished performances make a mosaic of aesthetic successes and failures; Public Relation is made of questions and answers: but the questions are not necessarily verbal, the answers not necessarily danced. What is staged is this deflagration of purposes and accomplishments, the erupting magma which lies at the base of every creation, and that also, in a disquieting way, remembers a catastrophe. But the catastrophe, at least on paper, is not frightening: nothing is more alive than what is yet to be born.
Caterina and Carlota Sagna’s work invites us to discover an unusual form of spectacle involving a range of different registers. An extraordinary experience without a safety net that remains veiled. A new breed of spectacle?
Simply cast your mind back to the hard-hitting content of Sorelline one of the highlights of “Mettre en Scène 2002” in which she drew her inspiration from the Little Women to denounce the commonplace tyranny between dance and theatre. With a delightfully caustic sense of humour, Caterina Sagna breaks with conventions, playing on the troubled dividing line between what is true and what is false.
Relation Public combines magnificent dancers from Italy, France, and Great Britain.