Choreography: Francesco Scavetta
original music: Bjorn Klakegg and Daniel Bacalov played live by: Bjorn Klakegg/Olav Torget
dancers: Anna Paola Bacalov, Gry Kipperberg, Gry Bech-Hanssen, Francesco Scavetta
scenography: Lars Ramberg, Francesco Scavetta costumes: Kathrine Tolo light design: Jean Vincent Kerebel sound: Morten Pettersen
photos: Lars Ramberg, Alessandro Botticelli design: Thomas Knustad
production: Imago/ Lise Eger with the support of the Norwegian Art Council, Norsk Kassettavgiftsfond, Fond for utøvende kunstnere, Oslo Kommune and the Italian Institute of Culture in Oslo distribution: Wee – Scavetta/Kipperberg
- 06. Jul 2001 Santarcangelo di Roma...
- 03. Jul 2001 Trezzo sull’Adda (Italy)
- 29. Jun 2000 Montpellier (France)
- 07. May 2000 Florence (Italy)
- 04. May 2000 Milan (Italy)
- 25. Nov 1999 Oslo (Norway)
- 22. Oct 1999 Lillehammer (Norway)
- 21. Oct 1999 Gjøvik (Norway)
- 20. Oct 1999 Elverum (Norway)
- 19. Oct 1999 Tynset (Norway)
- 18. Oct 1999 Steinkjer (Norway)
- 17. Oct 1999 Trondheim (Norway)
- 14. Oct 1999 Bodø (Norway)
- 12. Oct 1999 Harstad (Norway)
- 10. Oct 1999 Tromsø (Norway)
- 03. Oct 1999 Ålesun (Norway)
- 30. Sep 1999 Bergen (Norway)
- 29. Sep 1999 Sogndal (Norway)
- 28. Sep 1999 Ål (Norway)
- 27. Sep 1999 Modum (Norway)
- 26. Sep 1999 Borre (Norway)
- 24. Sep 1999 Jessheim (Norway)
- 23. Sep 1999 Lørenskog (Norway)
- 22. Sep 1999 Asker (Norway)
- 21. Sep 1999 Drammen (Norway)
- 20. Sep 1999 Sandefjord (Norway)
- 19. Sep 1999 Bø, Telemark (Norway)
- 17. Sep 1999 Skien (Norway)
- 16. Sep 1999 Grimstad (Norway)
- 15. Sep 1999 Kristiansand (Norway)
- 13. Sep 1999 Haugesund (Norway)
- 12. Sep 1999 Stavanger (Norway)
- 29. Jan 1999 Rome (Italy)
- 11. Dec 1998 Blois (France)
- 03. Aug 1998 Teggiano (Italy)
- 31. Jul 1998 Salerno (Italy)
- 20. May 1998 Palermo (Italy)
- 14. Jan 1998 Oslo (Norway)
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
This performance talks about memories, including the memories we have never had, the lies we have repeated so many times that, in the end, we believe they really happened .
. In Japan, at the end of the performances, while applauding, the audience often scream a word that we westerners naturally associate with our: “Bravo!”. Translating it, it means: “You are very tired”.
To be vulnerable, to find a sort of innocence…
. Charlot is travelling on a boat. The sea is very rough. All the passengers are sick, many of them are throwing up .
Charlot is with his back to the camera, and he is bending over the balustrade, shaking. Everything makes us believe that he too is throwing up [evt. that he is also throwing up].
But when he turns, we discover that he was fishing and he has caught a small fish.
Only a little trick.
. To tell a story as if I were taking it by the tail is for me a pursuit without hurry.
In the end, man is a storyteller.
Today is the day for surprises.