HARDLY EVER in Canada
Hardly Ever at Scotiabank Dance Centre in Vancouver, April 5-7, 2018, part of the GLOBAL DANCE CONNECTIONS SERIES, a boundary-busting contemporary dance selection from around the world.
SURPRISED BODY PROJECT
Back on tour with the latest version of the Surprised Body Project at Baerum Kulturhus the 16th of March.
NORWAY NOW - NEW YORK CITY
Wee/Francesco Scavetta is on the way to New York City as part of the Norwegian Delegation to attend the Platform organised by Danse- og teatersentrum / Performing Arts Hub Norway and Future Perfect. Wee will present HARDLY EVER within NORWAY NOW – Satellite Meeting the 14th of January.
Productions and projects
Dance company Wee never ceases to fascinate
Gry Kipperberg, who established together with choreographer Francesco Scavetta the dance company Wee, opens the show with a solo that makes you think of clouds of light floating across the sky. She has an effortless motion. She lets flow the movement as quickly and gently while she shapes it. And, as the clouds, she finds continuously new moves. She is not alone in this. The seven dancers, representing almost as many countries, is a unified organism, which through their movements, almost as strange note, characters or birds in flight, creates countless rooms in the room.
Choreographer Scavetta has always the subtle ability to pull the strings and find the simple (not uncomplicated) expression to show itself again, and here in a distinctly pure dance language. The effect that provides is subtle and fascinating.
Inger-Margrethe Lunde – Aftenposten
The Surprised body project is a dance piece that focus on choreographic and compositional issues and sees the body and the movement as its central element.
The project has been developing, as an ongoing creative process, by creating several new versions of the work while touring in different countries, sometimes also involving guest dancers and new composers to participate in the performance.
Since its première in Buenos Aires in October 2010, the Surprised Body Project has been successfully presented in 26 countries in Europe, Asia and South America.
In 2013-2014, we created five different new productions, in collaboration with dance artists and artistic structures in five countries: PLATFORMA from Moscow (Russia); Reykjavik Dance Atelier and Reykjavik Dance Festival, in Iceland; Studio-Contemporary Dance Company from Zagreb (Croatia); Plesni Teater from Ljubljana (Slovenia) and Monochrome circus/Kyoto Art Center-Kyoto (Japan).
The version created in Zagreb won the Price for Best Performance of the Year in 2014.
The most recent version has been created in co-production with Greenwich Dance in London (UK). The piece premiered in London, within Greenwich Dances Festival, in June 2016 and was, later on, presented at Live Art Festival in Strømstad (Sweden) and at IX International Festival Danza en la Ciudad, Bogotà (Colombia).
The music is composed by Jon Balke and played live by the percussion ensemble Batagraf that includes Snorre Bjerck and Ingar Zach/Helge Norbakken.
The musical concept is a collection of flexible material for percussion and electronics. Musically the project will look at rhythm, not in the sense of layers, as in rhythmic music,
but more towards the rhythm of language. That is: rhythm in shorter sequences, phrases or events that break up and combine into chains of “statements”.
Wees new creation “Hardly ever” explores the notion of truth and lies in theatre and everyday experience, bringing forward an investigation started with “Sincerely yours” (2008-09).
The work plays with the gap between creating expectations and allowing the unexpected. Presenting the juxtaposition of physical responses to verbal statements, where the slight mismatch opens for new associations. Involving the body as cartography of the space and using the voice, singing and talking, with a significant text that informs with its meanings and affects for what it evokes .
Sometimes things get accidentally lost and never show up again.
The act of vanishing: we are all searching for something to be grasped, if not is lost forever.
There is a game that Freud describes as: “Children making things disappear and reappear, over and over, again”, as if they are practicing the experience of loss.
“On the moon and the day after” is built around absurd and surreal situations, with a flow that permeates and binds the elements together, albeit in a subtle and paradoxical way. We find ourselves in a white space that slightly suggest a urban landscape. A dreamlike atmosphere, with cinematic science fiction references, where the tension plays between dark humor and poetical non-sense. This loads of distillated situations invites us to examine how we relate to, and discriminate between, personal and impersonal, natural and constructed.
Strangely enough it’s a solo performed by Gry Kipperberg. The music is composed by Luigi Ceccarelli and played live by the contrabassist Daniele Roccato.
The piece deals with the relationship between physicality and the perception of intimate states, where images are simultaneously simple and enigmatic, visible and hidden. A context where the abstract flows into concrete forms and actions, inviting the audience to be a visitor.
Based on questions about truth and lies in the context of performing art, the piece takes place in a world where the artificial aims to be real and the reality seems weirdly unnatural. Lying might be considered one of the icons of the human condition. We start lying very early in our childhood, even before having the ability to comprehend whether a statement is believable or not. One recent study found that most people lie once or twice a day, and over the course of a week deceive about 30 of the people they interact with personally. One might end up drawing a conclusion that one cannot be absolutely sure about anything, except what one chooses to believe in.
We are wondering. Is art just a question of belief?
“And I stood there watching the sky and the people below” is an ironic investigation on artificial paradises and extreme moments. It’s a list of bizarre accidents, surreal gestures and talks, dance and video clips, which flows in a weird, paradoxical way. This loads of distillated situations invites us to examine how we relate to, and discriminate between, personal and impersonal, natural and constructed. The core of the performance lies in an expression of artificiality which contemporary experience is often based on: one of no longer living in the world, nor in the language, but the in the image of the world.
“Hey dude, let’s stick around a bit longer this time” leaves a strange sensation. An atmosphere of end of the summer, when the holidays are over and it’s time to go home_
The piece takes shape in a natural landscape, a sort of sandy beach.
It’s narrative structure mixes references from movies, sitcoms, news and videogames, while the physical language comes from a research on a fluid and disarticulated movement, that includes the daily gesture.
“Z” completes, in a sort of trilogy, an investigation on vision and illusion, daily and unreal, artificiality and distortion, started with performance “A sudden, unexpected faint” (2000) and continued with “Live*” (2002).
The three performances created, change radically in format and aesthetic form, but all take place in a visual and acoustic environment where reality and its electronic/virtual reproduction, are never well outlined, but interact with each other, in complex and ever varied relations.
The use of the video, in tight dialog with music originally composed, has been central elements of the three works.
Developed from an analysis on vision and illusion, everyday life and unreality, artificiality and distortion, the performance takes place in a visual and acoustic environment where reality and its electronic/virtual reproduction, are never well outlined; where vision and sound perceptions are constantly questioned, as if a short circuit in the transmission of the images would project a complex being, made of an inextricable mixture of reality and thought, hallucination and memory, as an ever new fluxus of interferences.
“When she’s here she’s far away, when she’s back she’s gone”
It was perhaps a need for intimacy that led me to work on a duo, to tell a little story of epiphany and
metamorphosis, of humour and fragility and of dance which is as acrobatic as a caress. A hand drawing cyclones in the air, eyes closed and thinking nothing but of acting like a phenomenon.
Multiple cosmogonies agree on one fact: in the beginning there was nothing.
“And God created a garden.”
The garden is a beginning for us.
The audience is involved in an imaginary world where you can find physical dance and little acts, like in a kind of family circus, like in the continuous and a bit dreamy dimension of a child’s game, but marking it with a touch of light smoothness and moments of refined invention.
A world full of humorous surprise in an atmosphere that recalls images of an old black and white movie we found in the loft