Best regards
performed by: Marco D’Agostin
sound, graphics: LSKA
text: Chiara Bersani, Marco D’Agostin, Azzurra D’Agostino, Wendy Houstoun
lights: Giulia Pastore
sets: Simone Spanghero, Andrea Sanson
scientific advice: The Nigel Charnock Archive, Roberto Casarotto
dramaturgical advice: Chiara Bersani, Claudio Cirri, Alessandro Sciarroni
technical advice: Eleonora Diana, Luca Poncetta, Paola Villani
movement: Marta Ciappina
care, promotion, translation: Damien Modolo
technical care: Paolo Tizianel
photo, video: Alice Brazzit
organization, administration: Eleonora Cavallo, Federica Giuliano
duration: 60’
premiere: Julidans, Amsterdam, 2020.
production: VAN
co-production: KLAP Maison pour la danse à Marseille, Rencontres Chorégraphiques Internationales de Seine Saint-Denis, CCN2 Centre chorégraphique national de Grénoble, ERT – Emilia Romagna Teatro Fondazione
supported by: Points-Communs – Scène Nationale Cergy-Pontoise, Centrale Fies, Marche Teatro/inTeatro Festival, the WorkRoom (Fattoria Vittadini), Teatro Comunale di Vicenza, L’Arboreto – Mondaino, ARTEFICI.ResidenzeCreativeFvg di ArtistiAssociati
I met and worked with Nigel in 2010. This encounter marked a clear line in my way of thinking about performance. After him, the possibility of a dance is for me the horizon within which everything on stage can happen… “Best regards” is the letter I am writing, 8 years late, to someone who can no longer reply. As Ottavio Fatica pointed out when translating the epistolary between Lowell and Bishop, “letters delivered too late impeach time for not being that assiduous duration you would assume it is, instead constellation, milky way of instants”. From this present moment, I make an invitation to the audience: let’s sing all together about a nostalgia that belongs to us all, we who did not arrive in time to say what we wanted. In the shadow of the expired time, and under the light that Nigel keeps projecting on the scene, let’s make this insistent refrain resonate, let’s unroll a blank sheet of paper in front of our eyes and ask ourselves: how do we want to start, this impossible letter?
Marco D’Agostin
Marco D’Agostin is an Italian artist active in the fields of dance and performance, winner of the UBU award as best young performer. His work questions the role and functioning of memory, and focuses on the relationship between performer and spectator. Dance, a complex geography in which sounds, words and movements constantly collide, tends towards the emotional compromise of the ones who perform and the ones who watch. After training with internationally renowned masters such as Yasmeen Godder, Nigel Charnock, Rosemary Butcher, Wendy Houstoun, Emio Greco, he began his career as an interpreter, dancing for, among others, Claudia Castellucci / Socìetas, Raffaello Sanzio, Alessandro Sciarroni, Liz Santoro, Iris Erez, Tabea Martin… Since 2010 he has developed his own choreographic research taking part in numerous international projects. He presented his works in many European festivals and venues (Rencontres choréographiques de Seine-Saint-Denis, Théatre de La Ville in Paris, Les Brigittines in Brussels, The Place Theater in London, Sala Hiroshima in Barcelona, Tanzhaus Zürich, Schaubühne in Leipzig, SESC Pompeia in Sao Paolo, Santarcangelo Festival, Romaeuropa, VIE Festival, Torinodanza, OperaEstate, among others). In 2019, invited by Boris Charmatz, he has been one of the twenty dancers of the “XX Dancers for the 20th Century” project. In 2020, he was invited by Marie Chouinard, director of the Venice Dance Biennale, to create for the dancers of the Biennale College.
Unstoppable firework of skill… “Best regards” seen at the premiere, already has all the qualities to be a success.
© La Stampa
