Concept, choreography and sound: Francesco Scavetta
in collaboration with the dancers: Venke Marie Sortland/Laida Azkona, Gry Kipperberg, Dante Murillo Bobadilla, Arnulfo Pardo Ravagli. Dramaturge: Sasa Bozic. Light designer: Stefano Stacchini. Costume design: Gjøril Bjercke Sæther. Scene: Wee, Sebastiana Di Gesu. Video: Francesco Scavetta, Gianpaolo Rampini.
Co-producer: Dansens Hus – National Scene for Dance/Oslo (Norway).
Supported by: Arts Council Norway, Fund for performing artists, Fond for Lyd og Bilde, UD-Norwegian Foreign Affairs, the Ministry of Culture of Republic of Croatia, Zagreb City Council for Culture.
In collaboration with: combined operations (Zagreb – Croatia), ART Workshop Lazareti (Dubrovnik-Croatia), Teatro Comunale di Cagli (Italy)
- 11. Oct 2009 Skopje (Macedonia)
- 06. Oct 2009 Belgrade (Serbia)
- 02. Oct 2009 Zagreb (Croatia)
- 29. Sep 2009 Ljubljana (Slovenia)
- 26. Sep 2009 Cagli (Italy)
- 05. Sep 2008 Viljandi (Estonia)
- 03. Sep 2008 Tartu (Estonia)
- 31. Aug 2008 Tallinn (Estonia)
- 27. Aug 2008 Helsinki (Finland)
- 20. Aug 2008 Oslo (Norway)
- 06. Sep 2007 Oslo (Norway)
- 30. Aug 2007 Oslo (Norway)
- 20. Jul 2007 Cagli (Italy)
- 07. Jul 2007 Dubrovnik (Croatia)
“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.
Throughout an investigation on visual and conceptual displacement/misplacement, the performance deals with our perception of the reality by deconstructing narrative scenes and, at the same time, visual and physical languages. With a process of adding and removing, we play with the collapsing of the sense (and the signs) of the situations presented to us, challenging spectators expectations, delaying back-taste meanings and creating empathy by triggering ironic catches.