24 TIMES PER SECOND
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Choreography and direction:
Lara Guidetti
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Musical editing:
Marcello Gori
SANPAPIÉ PRODUCTION
in collaboration with Caffeine – Incontri con la danza
Show selected within the project “Next – laboratorio delle idee for production and distribution of live performances in Lombardy. 2020 Edition”
CAST &
CREDITS
With actors: Saverio Bari, Cecilia Vecchio
Dancers: Fabrizio Calanna, Sofia Casprini, Luis Fernando Colombo, Matteo Sacco, Lara Viscuso
Music: Ennio Morricone, Nino Rota
Production: Sanpapié in collaboration with Caffeine – Incontri con la danza
Show selected within the project Next – laboratorio delle idee for production and distribution of live performances in Lombardy. 2020 Edition”
SYNOPSIS
IDENTITY 2.0
24 volte per secondo is the capture rate of frames that allow a sequence of images to give the human eye the illusion of movement. In the same way, cinema composes and breaks down fragments of stories, places, and worlds on the retina of our eyes, but the illusion it would not be complete without sounds and a music score.
The point of departure is the innovation that two great Italian composers have brought to the relationship between music and image: Nino Rota and Ennio Morricone, who have given their music to some of the most beautiful films in the history of cinema, nourishing the poetic and emotional imagination of the whole world. The extraordinary work of these authors allowed the music to blend perfectly with the work of great directors making it a means of expression,“functional” to the cinematic story able to reveal the nature of the characters, to illustrate environments and atmospheres, to represent the link between the various events (often not made explicit by the images), and thereby produce emotions. Music for cinema, with these two composers, was no longer a simple comment or a background but became itself a real autonomous narrative.
We enter this multifaceted universe of characters, famous scenes, words, images and emotional landscapes dancing well-known themes, in a merry-go-round where stories chase on another and intertwine, in which they are evoked just to dissolve in the next one.
Music does not accompany the choreography in a unitary narrative but provides the key to the themes of an evocative and dynamic montage where the abstraction of dance meets and blends with atmospheres and characters from well-known cinematic sequences.
The editing between the dance parts and the theatrical scenes is quick and does not allow the viewer to stop for long inside a narrative or become attached to the characters but follows a montage in itself cinematic that jumps from tragedy to comedy, cross different historical times and overturns the use of scenic space. The perceived unity lies in the great musical production of the composers to who we pay homage and in the ability that each song has to get straight to an emotional imaginary, shared but subjective in memory.
DIRECTOR’S
NOTES
We work outside typical theatrical places because the concreteness of architectural buildings, natural spaces and town centres, places the dance work outside the abstraction of the stage and allows it to appear as if it were in a cinematic set. The realism of the space, shared between audience and performer, rediscovers the sensation of closeness that is established with the screen and allows the viewer to participate more emphatically with the stage action, and gives a lively provocation to the performers in the use of space.
Actors and dancers interact, each entering the language and the scenes of others, continuously shifting attention from speech to dance and vice versa. Only a few objects and aesthetic/costume details are the symbolic keys that give access to different visions.
24 volte al secondo is a show that gives the audience the feeling of being immersed in a scene or struggling with well-known characters who, thanks to dance, are seen from a new poetic perspective.
HYPOTHESIS OF
DISTRIBUTION
The work lends itself to being represented in many different places, even in itinerant form, on 4 adjacent spaces, so that the public can move smoothly and without losing the rhythm of the show. Given the complex situation we have before us, we plan to propose the work mainly outdoors, in places that have a shared social, cultural, and aesthetic value: squares, historic buildings, villas, towns, and all those places that cinema has always sought assets and natural backgrounds. We would like to create a dialogue with administrations of municipal and regional realities and with associations that aim at the revitalization of cultural sites and landscapes of which Italy is full.
Our intention is not to distort the spaces with invasive installations but, on the contrary, bring to light their poetic, aesthetic, and imaginative strength, giving life to places that, although beautiful, are not widely used today.
