John

“John” propose une réflexion sur la nature humaine et sur notre façon de vivre, sans doute en hommage au compositeur américain John Cage, dont les jeux sur le quotidien et le hasard se sont retrouvés alimenter la danse.

John continues working on the building of a dramaturgy made up of signs that are steadily places, whose sense transforms and becomes continuously clear, through the interweaving of threads that unite them. The meaning of these cues – actions of everyday life, small pieces of dance, words, and costumes – become more and more clear, to converge in a final scene that unites them like pieces of a puzzle. The cues, the means of their management by the interpreters, and the final scene all propose reflections on human nature and our ways of life, which remain open to the interpretation of every one of the spectators.

This show is a sort of a game, different every night, determined by random variables: the rotational duration of a spinning top, the time it takes for wooden birds to come down.

The four performers offer an accumulation of objects and actions, even requesting information from the spectators: all these elements gradually build a sort of absurd soap opera that reunites everyone. Here is where the choreographer starts to move away from the feminine essence of her solo pieces and of A Posto to add new ingredients. What we do recognise here is the intersection, the encounter between real life and theatrical fiction and the precise and refined structural construction; and we recognise the discussion – both real and abstract – on what is to be human, always tinged with a touch of subtle irony.