DANCING BRUNO
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SANPAPIÉ CO-PRODUCTION AND LUZZATI FOUNDATION – TEATRO DELLA TOSSE GENOVA
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Conception
Lara Guidetti, Saverio Bari
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With contributions by
Marco De Meo, Marcello Gori, Susanna Gozzetti, Cecilia Vecchio
Welcome to Dancing Bruno
Everybody’s place, nobody’s land
There is a way
that is not to heal
But
Tame
Control the beast that assails you
Dance, dance, dance!!!
CAST &
CREDITS
With Saverio Bari, Luis Fernando Colombo, Gioele Cosentino, Marco De Meo, Marcello Gori, Susanna Gozzetti, Lara Guidetti, Francesca Lastella, Matteo Sacco, Cecilia Vecchio
Co-production Sanpapié and Fondazione Luzzati – Teatro della Tosse
Conception Lara Guidetti, Saverio Bari
With contributions by Marco De Meo, Marcello Gori, Susanna Gozzetti, Cecilia Vecchio
Choreography and direction Lara Guidetti
Texts Saverio Bari
Original music and soundtrack Marcello Gori
Live music Andrea Vulpani
Costumes Daniela De Blasio
With the support of MiC – Ministry of Culture
Synopsis
IDENTITY 2.0
What comes naturally to one’s mind is the question of what a dancehall is and, more importantly, who Bruno is.
To the first question the answer comes seemingly easy: a dancing is a ballroom before it was called a discotheque and after it lost its definition as a balera. The dancing is the middle ground where couple dance opens up to rhythmic contaminations, cultures, forms and figures from other parts of the world. In common with the balera are the rules and, above all, the powerful voice of popular extraction, while the tension towards disco reveals a world that is widening and opening up to encounter and experimentation, looking at the foreigner with a fascinated and curious attitude, imitating his movements, and ready to exchange his own.
Dancing Bruno is a ride through popular dance between the early 1900s and the early 1970s, clinging to the saddle of the history of social and political changes that have transformed our way of living spaces, relationships, roles and steps in common. It is a clandestine lair, an ark where every animal can climb to rediscover its spontaneous and necessary desire for its own body and for the other. We are what we dance, and in Dancing Bruno irony opens the door to encounter and experimentation. It is a participatory experience where audience and performers merge in the same game, creating a surreal space where time is suspended between notes and sweats in an organic making of people dancing. The result is an evening of about two and a half hours, where 12 artists, including musicians, dancers, singers and actors, compete with the audience, challenging each other not to leave a single spectator seated.
There is no orchestra but a surviving solitary instrument that dialogues with the new sounds of electronics, destined to tragically supplant bands. Contemporary dance, in intermittent interventions that punctuate the evening, becomes the spokesperson for episodes and poetic openings on human contradictions and fragilities that give the ‘popular’ the role of a collective rite in perpetual rewriting, always capable of resonating in a transversal and inclusive manner.
And Bruno? Who is Bruno?
He, too, is a clandestine idea: that of a theatre where there is no barrier between audience and stage, the secret and intimate receptacle of a popular universe in which we sink our roots, the guardian of a world that is never completely lost but is transformed… he is the pole that warns us when we are in danger, to give us time to move elsewhere, to be reborn changed, contaminated… he is someone we have all met, on any corner, between any two streets, who reminds us who we are, who we have been, who we could be… he is a question without the haste of an answer and the excitement of discovery…
Bruno is the secret word, it is the memory we have always carried within us, capable of renewing itself with each generation.
