Mammame 2002

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Play again Mammame today corresponds to this permanent desire to make revive the choreographic parts of the company. It seems that with each choreographic act appears an initial writing, “manufactured” of instantaneous compositions, more precise improvisations or writings. Once this writing posed develops a creative interpretation. By taking again a choreographic part, one can realize the pérénnité of this writing while discovering new interpretations related on the new dancers and the spirit of time. Express yourself also this cordial and permanent request for various generations of spectators to see or re-examine choreographic parts which testify to a particular artistic “color”. Just like was born the film enthusiast spirit, can be born the “choréphile” spirit today. In the same way my other choreographies, Mammame, request to rub with the skin of time by exploring the birth of these first conditions “fabricales” to venture lovingly towards the scene and the public. Nimble and shared resonances art and culture revealing enemy brothers and sisters sometimes. Mammame will be presented in its lightest vision. The history comes from this round to Montreal or decorations and costumes not having arrived in time, all the company went precipitately in an American surplus to be provided out of shorts and dockers. The evening on the plate in this new “stripped” interpretation of Mammame. It is this version which we transmitted to the Ballet of Buenos Aires and which we would like to take again today with the company.
Can the “Cabascholle *” always illuminate our influences and impregnate us poetries extractantes.
*“As I have already explained, the Cabascholle is, at theoretical level, one of the ways to liberate dance from choreography. It is also in MAMMAME language, the dance of courage, mischievousness and absolutist uncertainty.”
Jean-Claude Gallotta – Octobre 2002