LEI
—
a show by
Marcello Gori e Lara Guidetti
—
choreography and performance by
Lara Guidetti
—
dramaturgy and music by
Marcello Gori
with the contribution of the Ministry for Cultural Heritage and Activities – Entertainment Sector and the support of Caljka Popular Avant-garde Theater
Outwardly we are just one apple among others.
Internally we are the tree.
Alan Watts
WHO is
LEI
IDENTITY 2.0
A woman, in the middle of an age in between, looking for something authentic. In research she trudges, twists, learns to walk, dresses up, transforms, smiles. She is still, hectic, helpless, formal, normal. To be able to look like herself she really strives to come out of herself, from the burden of the days and hours that she keeps dragging behind her. In an attempt to reconnect to a lost intuition, to her roots, to the eternal feminine that slumbers inside every woman, to the she-wolf who like a shadow has followed her since the dawn of time.
Accompanying her in counterpoint, He, who studies her, provokes her and tries to understand her journey fulfilling his own and reminding her that inside she has something of every other her, of every other time and any other space. And that the only way to find oneself is to begin to consider oneself whole, in connection with the pulsating flow of life: fragile yet powerful creatures that guard the mystery of existence.
WHERE DOES SHE COME FROM? SHE is born from the (re) reading of some anthropological and philosophical texts, in particular Women running with wolves by Clarissa Pinkola Estes and Natura uomo donna by Alan W.Watts, and at the same time the rediscovering of a familiar search to connect this “she” to other ones who came before her.
In LEI the dance is confronted with narration and with the theatrical play, with the transformation and the character, with action, with the image that represents, with the symbol. The movement thus expresses a clear and direct communication, where the everyday life of the body, in its natural behavior, proceeds towards the archetype, and the theatrical gesture and the mask are sublimated in the abstract movement.
The result is a bare stage space, inhabited only by a female body and a mattress, in which, in addition to concrete and everyday images, references to mythological figures or divine, characters from fairy tales or legends and archetypes are created. Sanpapié goes back to its origins, to pursue a more intimate and collected narrative dimension, one that so much it has explored, presenting a solo for a woman’s body whose heart lies in the continuous dialogue between choreography, dramaturgy, and music and in the profound relationship with the objects and symbols in their evocative power.
