year

2020

duration

60′

performed by

Marco D’Agostin

sound, graphics

LSKA

texts

Chiara Bersani, Marco D’Agostin, Azzurra D’Agostino, Wendy Houstoun

lights

Giulia Pastore

scenes

Simone Spanghero, Andrea Sanson

scientific advice

The Nigel Charnock Archive, Roberto Casarotto

dramaturgical advice

Chiara Bersani, Claudio Cirri, Alessandro Sciarroni

technical advice

Eleonora Diana, Luca Poncetta, Paola Villani

movement coach

Marta Ciappina

care, promotion, translations

Damien Modolo

technical care

Paolo Tizianel

organization and administration

Eleonora Cavallo, Federica Giuliano

produced by

VAN

coproduced by

KLAP Maison pour la danse à Marseille, Rencontres Chorégraphiques Internationales de Seine Saint-Denis, CCN2 Centre chorégraphique national de Grénoble,  ERT – Emilia Romagna Teatro Fondazione

supported by

Points-Communs – Scène Nationale Cergy-Pontoise, Centrale Fies, Marche Teatro/inTeatro Festival, the WorkRoom (Fattoria Vittadini), Teatro Comunale di Vicenza, L’Arboreto – Mondaino, ARTEFICI.ResidenzeCreativeFvg di ArtistiAssociati

year

2020

duration

60′

performed by

Marco D’Agostin

sound, graphics

LSKA

texts

Chiara Bersani, Marco D’Agostin, Azzurra D’Agostino, Wendy Houstoun

lights

Giulia Pastore

scenes

Simone Spanghero, Andrea Sanson

scientific advice

The Nigel Charnock Archive, Roberto Casarotto

dramaturgical advice

Chiara Bersani, Claudio Cirri, Alessandro Sciarroni

technical advice

Eleonora Diana, Luca Poncetta, Paola Villani

movement coach

Marta Ciappina

care, promotion, translations

Damien Modolo

technical care

Paolo Tizianel

organization and administration

Eleonora Cavallo, Federica Giuliano

produced by

VAN

coproduced by

Rencontres Chorégraphiques Internationales de Seine Saint-Denis, KLAP Maison pour la danse à Marseille, CCN2 de Grénoble

supported by

Centrale Fies, CSC/Centro per la Scena Contemporanea (Bassano del Grappa), inTeatro, ERT, the WorkRoom (Fattoria Vittadini), A.Artisti Associati – Gorizia

BEST REGARDS (new creation 2020)

[IT]

“Dear N,
You were too much.
Too funny.
Not just plain funny but, you know:
silly funny, witty funny,
biting funny, cutting funny, ferocious funny,
despondent funny, frightening funny.
And physical too.
Yes too physical by half.
Too body, body.
Too bodily body to be theatre
and too entertaining to be serious.”

 

Così inizia la lettera mai recapitata che Wendy Houstoun scrisse al suo amico e collega Nigel Charnock, pochi giorni prima che lui morisse, nell’agosto del 2012. Nigel era stato uno dei fondatori dei DV8 – Physical Theatre negli anni ’80; aveva poi proseguito in solitaria come performer e coreografo, dando vita a una serie di formidabili assoli. Per chi lo ha conosciuto egli era, esattamente come nelle parole di Wendy, “too much”.

Con i suoi spettacoli, esplosioni ipercinetiche in cui il canto, la danza, il grido, l’improvvisazione, la finzione e la realtà palpabile della performance restavano sospesi su vuoto abissale, ha allargato le maglie del genere “danza contemporanea” ed è sembrato incarnare alla perfezione quella possibilità dell’arte che David Foster Wallace avrebbe chiamato “failed entertainement” (intrattenimento fallito). In lui tutto era energia, desiderio, volontà. Eppure, come disperatamente ripete nel suo solo One Dixon Road, “there’s nothing else, it’s nothing, nothing”: non c’è nient’altro, niente, niente ha senso.

Il mio incontro con lui, avvenuto nel 2010, ha segnato in modo netto il mio modo di pensare la danza. Nigel rappresentava ai miei occhi la possibilità che in scena tutto potesse accadere ed esplodere.

BEST REGARDS è la lettera che scrivo, con 8 anni di ritardo, a qualcuno che non risponderà mai. È un modo per dire: Dear N, I wanted to be too much too (“Caro N, anch’io volevo essere troppo”). Come ha osservato Ottavio Fatica, “le lettere giunte in ritardo mettono sotto accusa il tempo per non essere la durata assidua che si postula, bensì costellazione, via lattea d’istanti”. Ogni lettera, infatti, viaggia da un presente a un altro che potrebbe non trovare ad aspettarla. Da questo presente io rivolgo a tutti gli spettatori lo stesso invito: cantiamo assieme di una nostalgia che ci riguarda, noi che non siamo arrivati in tempo per dire quello che volevamo. All’ombra del tempo scaduto, e sotto la luce che Nigel continua a proiettare sulla scena di chi oggi danza, facciamo risuonare un ritornello martellante, spieghiamo di fronte ai nostri occhi un foglio bianco e chiediamoci: come la cominciamo, questa lettera impossibile?

 

[EN]

“Dear N,
You were too much.
Too funny.
Not just plain funny but, you know:
silly funny, witty funny,
biting funny, cutting funny, ferocious funny,
despondent funny, frightening funny.
And physical too.
Yes too physical by half.
Too body, body.
Too bodily body to be theatre
and too entertaining to be serious.”

 

With these words Wendy Houston would say goodbye to his friend and colleague Nigel Charnock, a few days after he died, in 2012. Nigel had been one of the co-founders of DV8 Physical Theater in the ‘80s; he had then left and followed his own research, creating and performing a formidable series of solos. For whom had met him, he was exactly as Wendy wrote, “too much”.

With his performances, hyperkinetic explosions in which singing, dancing, screaming, fiction and performance were intertwined on top of an abyssal emptiness, he broadened the borders of “contemporary dance” and seemed to perfectly embody the possibility of art that David Foster Wallace defined as “failed entertainement”. Everything in him was energy, desire, will. Yet, as he desperately repeats in his solo One Dixon Road, “there’s nothing else, it’s nothing, nothing”.

I met and worked with Nigel in 2010. This encounter marked a clear line in my way of thinking about performance. After him, the possibility of a dance is for me the horizon within which everything on stage can happen.

BEST REGARDS is the letter I am writing, 8 years late, to someone who can no longer reply. It’s a way of saying: Dear N, I wanted to be too much too. As Ottavio Fatica pointed out when translating the epistolary between Lowell and Bishop, “letters delivered too late impeach time for not being that assiduous duration you would assume it is, instead constellation, milky way of instants”. Each letter leaves from a present towards another one that might not be there to wait for it. From this present moment I make an invitation to the audience: let’s sing all together about a nostalgia that belongs to us all, we who did not arrive in time to say what we wanted. In the shadow of the expired time, and under the light that Nigel keeps projecting on the scene, let’s make this insistent refrain resonate, let’s unroll a blank sheet of paper in front of our eyes and ask ourselves: how do we want to start, this impossible letter?

Tour

2020

February 29 – March 1, avant-première, VIE Festival, Teatro delle Passioni, Modena (IT) ANNULLATO///CANCELLED

March 28, première, KLAP – Maison pour la danse, Marseille (FR) ANNULLATO///CANCELLED

June 19-20, Rencontres Chorégraphiques Internationales de Seine Saint-Denis, Paris (FR) ANNULLATO///CANCELLED

August 28th, studio version, B.Motion, Operaestate Festival, Bassano del Grappa (IT)

October 7th/8th, avant-première, Torinodanza Festival, Torino (IT)

November 7th, première, KLAP – Maison pour la danse, Marseille (FR)

November 13th/14th, Rencontres Chorégraphiques Internationales de Seine Saint-Denis, Paris (FR)

November 20th/22nd, Italian première, Arena del Sole – ERT, Bologna (IT)

Tour

2020

February 29 – March 1, avant-première, VIE Festival, Teatro delle Passioni, Modena (IT) ANNULLATO///CANCELLED

March 28, première, KLAP – Maison pour la danse, Marseille (FR) ANNULLATO///CANCELLED

June 19-20, Rencontres Chorégraphiques Internationales de Seine Saint-Denis, Paris (FR) ANNULLATO///CANCELLED

August 28th, studio version, B.Motion, Operaestate Festival, Bassano del Grappa (IT)

October 7th/8th, avant-première, Torinodanza Festival, Torino (IT)

November 7th, première, KLAP – Maison pour la danse, Marseille (FR)

November 13th/14th, Rencontres Chorégraphiques Internationales de Seine Saint-Denis, Paris (FR)

November 17th/19th, Italian première, Arena del Sole – ERT, Bologna (IT)