New in the Archives:The Women’s League
of Health and Beauty
Karen Jamieson Dance: 25 Years of
Dancing Up Mountains
Those Winnipeg Kiddies: 1915 – 1922
A Dancing Philosopher: Zab Maboungou
Brydon Paige:Wit, Drive and Precision
Book excerpt:
Unfold: A Portrait of Peggy Baker
Leonard Gibson: 1926 – 2008
A Dancing
Philosopher:
Zab Maboungou
Celebrates
Twenty Years
at Work in
Canada
B Y B RIDGET CAUTHERY
Zab Maboungou in her work Reverdanse, 1995
Photo: Xavier Lluis
Zab Maboungou describes herself as a
“child of colonialism”. The daughter
of a Congolese mother and French
father, she was born in Brazzaville,
the capital of what is today CongoBrazzaville, the former French colony
of the Moyen (Middle) Congo straddling the equator in sub-Saharan West
Africa. Born prior to Congo-Brazzaville’s
independence from France, Maboungou
came of age at a time when postcolonial unrest sparked an artistic and
cultural renaissance that placed an
emphasis on African identity. She
believes that she was innately drawn
to dance and by the age of thirteen
understood that dance would be her
vocation. “I knew that I had to be a
dancer,” she explains. “I didn’t tell anyone. I didn’t discuss it with anyone –
16
Dance Collection Danse
I did not see the need. It was a deeply
personal, purely intimate decision. And
one that was not at all incongruous
with the life I knew.”
Despite secession and a strong
independence movement – with
which Maboungou’s father was involved – Congo-Brazzaville still felt
France’s matriarchal pull and, being a
bright student, Maboungou was
encouraged to study in the “mother”
country. In 1969, she went to Paris to
study philosophy. There she met other
children of African colonization and
together they began sharing their knowledge of traditional African music and
dance. Social gatherings formalized
into dance clubs hosted by African
student associations that sponsored
the students’ endeavours to reconnect
with their appropriated heritage.
When questioned about what kind
of African dance she performs – usually
by Europeans keen to fix her to a
certain place and time – Maboungou
complies, describing herself as a practitioner of Congolese dance. But this,
she explains, is a fabrication. The
indigenous peoples living in what is
today’s Congo-Brazzaville did not
always live there – it is not their
traditional homeland. By virtue of
forced settlement or displacement by
European colonization, the people
living within the borders imposed by
the Congo Act that gave France control
of the region, became “Congolese”.
Thus, to speak of Congolese dance is
meaningless; there are dances performed by the Kongo people but these
“... movement and
thought reside in the
body. We move, we
think; they are one
and the same.”
Zab Maboungou
Photo: Cindy Rhéault
dances are not performed strictly within the geographical territory defined as
the Congo. So African dance, encompassing a range of regional traditional
dances within a global diaspora,
shared between generations within
the Congo but also recreated in the
colonial mother countries and in other
former colonies, conveys a richness of
solidarity within Africa’s fractured
identity. In Paris and later in Canada,
Maboungou studied traditional music
and dance of the region but also
undertook studies in the traditional
dances of Mali, Ivory Coast, Senegal,
Guinea, Nigeria and Zimbabwe. She
also danced with several Paris-based
companies.
In 1973, Maboungou emigrated
from Paris to Montreal, Quebec, shortly
after the province’s Quiet Revolution.
The Quiet Revolution was a period
marked by a resurgence of pride in
Quebec’s French cultural heritage, a
lessening of the influence of the Catholic
Church in state affairs and a movement
towards asserting Quebec’s place as a
modern and distinct society. Issues such
as sovereignty and Quebec independence from the rest of English-speaking
Canada were current. Cultivating a
separate and unique Québécois
identity was also expressed in terms
of support for the arts. Aligning themselves with a “European model” of
strong recognition for the value of
artistic practice, the province was
generous in its support; a thriving
dance scene, centred on ballet and
modern dance, was fostered.
In Europe, Maboungou had danced
for other companies; in Canada, she
determined to establish herself as an
autonomous dancer and choreographer.
The African-derived work that was
being performed in Montreal at the
time was not, to Maboungou’s mind,
what she herself believed dance to be.
The dance she knew from her childhood was connected to breath, to the
cycles of life and death. Few paid
attention to her early attempts, but
she remained steadfast in her dedication to the pursuit of a dance that was
much more than costumes and music.
Teaching became a natural response as
she explored and refined movement
with her students. In 1986 Maboungou
founded Le cercle d’expression artistique Nyata Nyata, her company,
No. 65, Spring 2008
17
school and studios in Montreal, for the creation, presentation and promotion of her work within a local, national
and international context.
Despite liberal support for the arts in Quebec,
Maboungou’s career stalled. Though increasing numbers of
French-speaking Africans had been immigrating to Quebec
since the demise of colonial rule in the decades following
World War II, Maboungou was something of an oddity. Two
years prior to her immigration, the federal government of
Canada had drafted its official policy of multiculturalism.
Cultural groups performing traditional African dance as
part of cultural arts festivals and nationalist celebrations,
such as Canada Day, were common and were encouraged
under the new policies. The then prime minister Pierre Elliot
Trudeau, addressing the House of Commons in response to
the Royal Commission on Bilingualism and Biculturalism
on October 8, 1971, stated: “A policy of multiculturalism
within a bilingual framework commends itself to the
government as the most suitable means of assuring the
cultural freedom of Canadians. Such a policy should help
break down discriminatory attitudes and cultural jealousies.
National unity if it is to mean anything in the deeply
personal sense, must be founded on confidence in one’s
own individual identity; out of this can grow respect for
that of others and a willingness to share ideas, attitudes and
assumptions”. But a woman of African descent purporting
to create modern African dance was incomprehensible to the
government funding bodies of the 1970s and 1980s. The
province’s ballet and contemporary dance companies were
often favoured over the independents, and Maboungou was
excluded from receiving public arts support.
In 1988/89 when the Canada Council for the Arts undertook consultations on cultural diversity and established the
Racial Equity Committee, the official policy of multiculturalism began to take hold. Joyce Zemans, a former director of
the Canada Council and lecturer in arts policy and administration, stated in 1996 that Canadian multicultural policy
is “admired internationally and considered a model by
UNESCO, [though] critics blame the policy for devaluing
what it purports to promote, fracturing Canadian society by
its insistence on hyphenated Canadians and the creation of
‘identity communities.’”
Dominic Donkor and Zab Maboungou with dance students, Taegu
University, Korea
18
Dance Collection Danse
Pierre-Paul Makumbé and Karla Etienne in Zab Maboungou’s Lwaza, 2005
Photo: Jérôme Dubé
Outspoken to the point of being considered radical,
Maboungou continued to create and advocate for her work.
She self-produced, steadfastly cultivating her own
community through performances and workshops within
Canada and abroad. In 1991, she was invited as a consultant,
along with Maria O’Dole, a Ukrainian dance specialist from
Alberta, to participate in the Canada Council’s Dance
Advisory Committee review of a report entitled Inventory of
Dance: Other Forms. As representatives of the “other”,
Maboungou and O’Dole’s contributions are described by
dance historian Kate Cornell as “pivotal” since “they
embodied the voices of the unheard dancers”. Montreal
critic Philip Szporer perceives that Maboungou’s convictions
have led her to “voice provocative ideas when it comes to
writing, speaking and thinking about African dance and
identity politics.” At public meetings and gatherings he has
witnessed her capacity to articulate things squarely and
bluntly, voicing her concerns about representation, demanding
to be heard. Her zeal, Szporer suggests, stirs up what
columnist Christopher Hitchens calls “identity excitement”
and Szporer senses that “she can claim victory in the arena
of empowerment, as today there are several choreographers
in Canada who are celebrating their blackness on stage. In
no small measure, due to the pioneering spirit and persistent
will that Zab possesses.”
Maboungou’s perseverance and advocacy for the rights
of “other dancers” in the 1980s and 1990s was eventually
rewarded. She has the distinction of being the first AfricanCanadian choreographer to receive funding from the Canada
Council and the Conseil des Arts et des Lettres du Québec.
Today, on the Foreign Affairs Canada website, whose mandate
is to “support Canadians abroad, work towards a more
peaceful and secure world, and promote [Canadian] culture
and values internationally,” Maboungou is a highlighted
artist on the “African-Canadian Sights and Sounds” page.
There, she is described as “one of the many talented African
artists who have come to Canada in search of a new life and
made outstanding contributions to Canadian culture”.
Maboungou sees that her earlier works sought to build
a landscape from which to draw out specific ideas and were
the results of her search to find the “dance that she was
meant to dance.” Working from simple gestures because of
their capacity to be intertextual, she gradually honed her
capacity to intuit and play with rhythm. She will sing a
rhythm incessantly inside her head until the movement, the
gestures, emerge. This engagement with rhythm is
expressed both in her vivid embodiment of the rhythms
and in the vital relationships she cultivates with gifted
musicians, intimating a strong sense of communion.
Reverdanse was Maboungou’s first full-length solo work.
Created in 1991, it toured across North America, Europe
and Africa, bringing Maboungou worldwide recognition
and acclaim. Her capacity to abstract and deconstruct
traditional rhythms and movements to create a sense of
timelessness (now her signature choreographic method) is
clearly visible in this early work. Trips home to the Congo
and to other neighbouring African countries fuelled her
ongoing explorations to better understand the derivation
and the implicit meanings of traditional rhythms and
movements. Maboungou describes her solo Incantation
(1995) as a piece about energy. The music, initially created
by the clapping of her hands, the slapping of her feet on the
floor and the tinkling of the cowry shells around her waist,
emanates from her small frame. She revels in the roundness
of the rhythms, allowing them to build and fade, ebb and
flow. Mozongi or Les Revenants (“undead”), a group work
for four or five dancers choreographed in 1997, is intensely
Zab Maboungou in the studio
Zab Maboungou in her work Incantation, 1997
Photo: Xavier Lluis
physical, the dancers working to transcend their weight and
to fill the space. Nsamu (2003), meaning the “subject of
debate” in the Kikongo language, and its companion work
Lwáza (2005), in which Maboungou questions how one goes
from being the agitated to the agitator, are masterworks of
focussed rhythm and counterpoint. Minimal in design and
execution, both works are fierce and unrelenting in their
pursuit of rhythmic clarity.
Maboungou’s fascination with rhythm is correlated
with her interest in the “physicality of time as a vehicle for
understanding and interrelating with space.” In writing
about Maboungou’s performance of Reverdanse in 1993,
author and journalist Michael Crabb commented that the
choreography is “less concerned with form ... than with
conveying a sense of the body as a vessel of deep-seated
memories, ritual secrets and visceral intelligence”. This
sentiment was echoed the next year by fellow critic Elissa
Barnard who described the same work as “the organic union
of movement to rhythm”. Of Incantation, Maboungou’s
choreographic response to a walk in the country, Montrealbased writer and critic Philip Szporer states, “she is a small
window on infinity.” When she performed Incantation in
New York in 1999, New York Times critic Anna Kisselgoff
No. 65, Spring 2008
19
Maboungou came to dance academia’s attention
following a performance of Reverdanse as part of an Off-FIND
(Festival internationale de nouvelle danse) program in her
Nyata Nyata studio. The performance inspired American
dance scholar Ann Cooper Albright’s incisive analysis of
identity in her “Dancing the Minefield” chapter of her 1999
book Choreographing Difference. Cooper Albright recalls walking up St. Laurent Street in 1992 searching for Maboungou’s
studio; upon arriving, she observed that the showing was
not part of either the “cool” or “hot” Montreal avant-garde
scenes. She vividly remembers seeing Maboungou move and
sing with a richness of integrity and an open-heartedness
that was very moving. She explains that she “knew right
away that something really important was going on” and
that she would attempt to write about it at a later date.
Zab Maboungou in her work Nsamu, 2004
Photo: Xavier Lluis
described her performance as “mesmerizing”. Vivine
Scarlett, artistic director of danceImmersion in Toronto, met
Maboungou through Canadian Artist Network: Black Artists
In Action (CAN:BAIA). She describes how Maboungou’s
“petite physique” puts forward “a powerful presence” that
emanates from this “intelligent, deep feeling, and deep
thinking artist.”
Flyer for Zab Maboungou’s Mozongi, Place des Arts, Montreal, January 2001
20
Dance Collection Danse
“I cherish the capacity to
think on my own, and not
to control; to approach
dance as a way of
understanding life. And
is there really anything
better than dancing one’s
life away?”
When Maboungou spoke with her
audience after the excerpt, to Cooper
Albright she seemed “genuinely interested
in engaging in real dialogue, not just silly
stuff.” Of particular significance to Cooper
Albright is how Maboungou “can move
from dancing into more abstract thinking
and back into dancing.” She adds that “so
often in our culture these two pursuits
get separated in a general mind/body
divide.” To this end, Cooper Albright says
that “unlike so many dancer/choreographers who regard the critic/dance
writer warily ... Zab is a total partner in
discussing her work, especially in the
context of other contemporary works coming out of both
the Americas and Africa.”
Dena Davida, a doctor of anthropology and the artistic
director of Montreal’s dance space Tangente, feels that
Maboungou may well be “Canada’s first and only African
dance postmodernist.” Davida observes that Maboungou’s
artistic temperament displays “a heady fusion of motion
and emotion”. Watching her choreographic evolution over
the last decade, Davida has witnessed the “ever-more
minute fragmentation of her movement aesthetic.” She sees
that Maboungou has “coolly been, literally, deconstructing
African rhythms until the only most abstract movement
remains,” and that she is “single-minded, even hot-headed,
in her mission to dissect and reassemble the parts again”.
In addition to her artistic output, Maboungou has been
engaged as a professor of philosophy at Montmorency
College in Laval, an occupation that both complements and
extends her deconstructive and analytic approach to movement. André Rocque, a fellow professor of philosophy, has
been working alongside Maboungou since 1982. Reflecting
on their twenty-five-year association as both friends and
colleagues, Rocque perceives that earlier phases of
Maboungou’s development as an artist were processes of
getting organized, setting goals, and of discerning a direction,
a map of where she wanted and needed to go. He believes
that Maboungou’s investment in her teaching heralded a
period of incredible growth for her – both as a choreographer and as a performer – with the creation of full-length
choreographies, regular performances in various Montreal
spaces, and trips abroad to prestigious venues in the United
States and overseas. As a next step, Maboungou fleshed out
her body of work, her creative process, her distinct reperZab Maboungou in her work Décompte, 2007
Photo: Cindy Rhéault
Rehearsal of Zab Maboungou’s Mozongi, 2000
Photo: Marc Verret
toire and her style of dancing. More recently, Rocque believes
that Maboungou has entered a new era characterized by a
burgeoning maturity and a desire to take stock. This is
evident in her most recent work Décompte, which translates
as “stock-taking” or “tally”, created to celebrate the
twentieth anniversary of her company and presented in
October 2007. Rocque also points to the culmination of
Maboungou’s philosophical approach to movement in the
publishing of Heya... Danse!, an essay on dance in life. While
he sees the book as a significant contribution to the field, he
maintains that one must still look to Maboungou’s dancing
for “her deepest thoughts and feelings.”
Zelma Badu-Younge, a fellow dancer and choreographer
of African dance and professor at Ohio State University, has
known Maboungou since 1994 when they were both presented by DanceWorks in Toronto. Badu-Younge sees one of
Maboungou’s strengths as her ability to take traditional
movement and present it in a more contemporary way.
Maboungou’s work, which she describes as fundamentally
philosophical and spiritual, is, despite its postmodern
qualities, in fact traditionally African. Badu-Younge suggests
that these qualities are conveyed not only in her choreography but in her teaching where she seeks to convey the
No. 65, Spring 2008
21
DCD Press/Presse
Photography gallery / Galerie de photographies :
Michael Slobodian
185 pages, 90 photos
ISBN 0-929003-66-7
$30.00
[email protected]
Zab Maboungou
Recently Released
subtleties, the nuances and the origins of the movement so
that her students absorb an holistic understanding – one
that is simultaneously physical, emotional and intellectual.
This approach, Badu-Younge perceives, is unusual in North
America. Szporer concurs that her contribution to the dance
community through her teaching, where students “find a
spiritual release in the rhythms and movements she employs
at her Nyata Nyata school” is very important. As Maboungou
herself explains “movement and thought reside in the body.
We move, we think; they are one and the same.”
Maboungou’s impressive and far-reaching career,
equally at home in the studio, in the spotlight and in her
chosen role as a thorn in the side of the dance establishment,
is clearly built on her conviction to dance her own dance.
Two decades spent forging a clear and distinct path have
diminished neither her spirit nor her appetite to continue
this self-appointed search. Sitting in her studio, she is
serene: “I cherish the capacity to think on my own,” she
says, “and not to control; to approach dance as a way of
understanding life. And is there really anything better than
dancing one’s life away?”
Bridget Cauthery is a writer, teacher, choreographer and arts
consultant based in Toronto. She holds a Masters degree in
Dance from York University where she was nominated for a
university thesis award, and was recently awarded her doctorate
from the University of Surrey, United Kingdom. She is currently
Company Manager for Toronto Dance Theatre, a post she has
held since 2000.
22
Dance Collection Danse
anze Sport
Sport Sardegna
Sardegna - RASSEGNA
RASSEGNA STAMPA
STAMP
PA del 24 ot
ottobre
tobre 2007
ht
http://www.danzesportsardegna.info/rassegna/2007/danza_frene...
tp://www.danzesportsardegna.info/rassegna/2007/danza_ffrene...
www.danzesportsardegna.it
www.danzesportsardegna.it
www
w.danz
zespor
espo
orrtsarrde
egna.it
gna.
por
portale
orrtalle rregionale
egiionalle di bal
ballo,
llo, danza
danz
anz
za e danza
danz
za sportiva
sporrtiiva
TAMP
PA D
RASSEGNA
STAMPA
DII D
DANZE
SPORT
LA R
ASSEGNA ST
ANZE SPOR
T SARDEGNA
SARDEGNA
Rassegne Da “Dé
Rassegne
“Décompte”
“Duets”
“Cenerentola”
Cagliari
re g
giorni
iorni intensi
intensi di
di ammalianti
ammalianti
compte” a “Du
ets” e “Ce
nerentola” a Ca
gliari ttre
assoli,
assoli, gustose
gustose narrazioni
narrazioni e riletture
riletture in
in chiave
chiave moderna
moderna
Quando la danza diventa
div
venta una corsa
corrsa frenetica
frrenetica
enetic
Asmed,
Spazio
Danza
Circuito
Sardegna
hanno
As
med, Sp
azio Da
nza e Ci
rcuito Danza
Danza Sa
rdegna h
anno presentato
presentato compagnie
compagnie italiane
italiane e
straniere di grande livello
Capita
ormai
da
anni,
con
l'arrivo
dell'autunno.
Cagliari
diventa
capitale
della
danza
Sardegna
Ca
pita o
rmai d
aa
nni, co
n l'a
rrivo d
ell'autunno. Ca
gliari d
iventa la ca
pitale d
ella d
anza in Sa
rdegna e
da
ottobre
dicembre
un
vaii d
dii co
compagnie
italiane
straniere
che
incrociano.
Purtroppo,
d
ao
ttobre a d
icembre è u
n via va
mpagnie it
aliane e st
raniere ch
e si in
crociano. Pu
rtroppo, ttutto
utto
a ve
dere, o m
olto d
sso, sco
che
da
vedere,
molto
dii e
esso,
scorre
veloce
mesi,
poi,
più
nulla
quasi:
stagione
rre ve
loce in ttre
re m
esi, p
ciò ch
e c'è d
oi, p
iù n
ulla o q
uasi: la st
agione di
al T
Te
eatro L
irico e
uando va b
balletto
allestita
dal
Teatro
Lirico
e,, q
quando
bene,
qualcosa
d'estate
sparsa
qua
là.. Un p
problema
b
alletto a
llestita d
ene, q
ualcosa d
'estate sp
arsa q
ua e là
roblema
imanere le
gato a
eriodo in cu
che
continua
legato
all p
periodo
cuii i co
contributi
provinciali
vengono
erogati,
ch
e co
ntinua a rrimanere
ntributi rregionali
egionali e p
rovinciali ve
ngono e
rogati, e
gni vo
lta g
rganizzatori a p
che
costringe
ogni
volta
glili o
organizzatori
presentare
propri
cartelloni
anno,
con
una
puntuale
ch
e co
stringe o
resentare i p
ropri ca
rtelloni a ffine
ine a
nno, co
nu
na p
untuale
fferte ch
sovrabbondanza
dii o
offerte
che,
come
intuibile,
non
benefici.
Prendiamo
l'esempio
dello
scorso
so
vrabbondanza d
e, co
me in
tuibile, n
on rreca
eca b
enefici. Pr
endiamo l'e
sempio d
ello sco
rso
settimana.
giovedì
domenica
visto
un
po'
dii ttutto:
ammalianti
assoli
che
puntavano
una
ffine
ine se
ttimana. Da g
iovedì a d
omenica si è vist
ou
np
o' d
utto: a
mmalianti a
ssoli ch
ep
untavano a u
na
sull m
movimento
sull'esistenza,
gustose
narrazioni
ironiche
dove
gesto
parola
rriflessione
iflessione su
ovimento e su
ll'esistenza, g
ustose n
arrazioni ir
oniche d
ove g
esto e p
arola
coesistevano
come
piani
performativi
paralleli,
audaci
chiave
moderna
dii in
intramontabili
co
esistevano co
me p
iani p
erformativi p
aralleli, a
udaci rriletture
iletture in ch
iave m
oderna d
tramontabili
come
Cenerentola
dei
Grimm.
Ma
andiamo
con
ordine.
intenso
lavoro
della
ffiabe
iabe co
me Ce
nerentola d
ei ffratelli
ratelli G
rimm. M
aa
ndiamo co
no
rdine. ““Décompte”,
Décompte”, in
tenso la
voro d
ella
coreografa
canadese
dii o
origini
africane,
Zab
Maboungou,
andato
scena
per
primo
appuntamento
co
reografa ca
nadese d
rigini a
fricane, Z
ab M
aboungou, a
ndato in sce
na p
er il p
rimo a
ppuntamento
del
Nuova
Danza
organizzato
dall'Asmed,
ha
aperto
carrellata.
assolo
dii g
grande
intensità
all'Asmed, h
aa
perto la ca
rrellata. Un a
ssolo d
rande in
d
el ffestival
estival Nu
ova Da
nza o
rganizzato d
tensità
emotiva
interessante
coreutica,
dii lu
luce
cuii le lin
linee
disegnate
itagliato in rrettangolo
ettangolo d
ce in cu
ee d
isegnate nello
e
motiva e in
teressante rricerca
icerca co
reutica, rritagliato
nello
spazio
dalla
performer,
sposavano
dii se
segno
velocità
esecutiva,
scorrevolezza
incisività,
gno e ve
locità e
secutiva, sco
rrevolezza e in
cisività,
sp
azio d
alla p
erformer, sp
osavano rrigore
igore d
accompagnate
ora
da
serie
minime
dii p
passi
ora
da
accelerandi
che
ampliavano
d'azione,
assi o
ra d
aa
ccelerandi ch
ea
mpliavano il rraggio
aggio d
'azione,
a
ccompagnate o
ra d
a se
rie m
inime d
lungo
un
ponte
immaginario
che
idealmente
univa
Africa
Occidente
nei
gesti
musica,
niva Af
rica e O
ccidente n
ei g
esti e m
usica, ttra
ra
lu
ngo u
np
onte im
maginario ch
e id
ealmente u
percussioni
africane
suoni
dii vio
violoncello.
Arguti,
divertenti
ironici,
danzatori
della
compagnia
guti, d
ivertenti e ir
onici, i d
anzatori d
ella co
mpagnia
p
ercussioni a
fricane e su
oni d
loncello. Ar
inglese
Lost
Dog
sono
stati
protagonisti
dei
quadri
proposti
duets”
presentato
all'interno
ei ttre
re q
uadri p
roposti in ““Two
Two d
in
glese L
ost Do
g so
no st
ati i p
rotagonisti d
uets” p
resentato a
ll'interno
della
Autunno
Danza,
curata
come
dii co
consueto
da
Spazio
Danza.
Deii ttre,
quello
che
ha
me d
nsueto d
a Sp
azio Da
d
ella rrassegna
assegna Au
tunno Da
nza, cu
rata co
nza. De
re, q
uello ch
eh
a
incuriosito
dii p
più
stato
over-head
project”.
Con
sguardo
lucido
sarcastico,
Ben
Duke
roject”. Co
in
curiosito d
iù è st
ato ““The
The o
ver-head p
n sg
uardo lu
cido e sa
rcastico, Be
n Du
ke e
Delphine
Gaborit,
danzatori
pluripremiati
che
occupano
un
posto
dii p
primo
piano
nella
nouvelle
vague
De
lphine G
aborit, d
anzatori p
luripremiati ch
eo
ccupano u
np
osto d
rimo p
iano n
ella n
ouvelle va
gue
britannica,
hanno
portato
scena
interrogativi,
sogni,
paure
nevrosi
dii u
una
danzatrice
che
accinge
ortato in sce
na in
terrogativi, so
na d
anzatrice ch
e si a
b
ritannica, h
anno p
ccinge
gni, p
aure e n
evrosi d
ad
esibirsi,
così
sull p
pubblico
dii m
montagne
emozionali
che
caratterizzano
sì su
ubblico i fframmenti
usse e
mozionali ch
e ca
ratterizzano
a
de
sibirsi, rriversando
iversando co
rammenti d
ontagne rrusse
stato
d'animo
dii q
quanti
lavorano
un
palcoscenico.
alla
dei
Grimm,
uanti la
vorano su u
avola d
ei ffratelli
ratelli G
rimm,
lo st
ato d
'animo d
np
alcoscenico. IIspirata
spirata a
lla ffavola
planata
domenica
all'Auditorium
del
Conservatorio
una
spiazzante
versione
ideata
lanata d
omenica a
ll'Auditorium d
na sp
iazzante ve
rsione id
““Cenerentola”
Cenerentola” è p
eata
el Co
nserv
vatorio in u
da
Fabrizio
Monteverde
affidata
all Ba
Balletto
dii Ro
Roma,
ospite
della
quarta
edizione
del
Circuito
Danza
onteverde e a
ffidata a
lletto d
ma, o
spite d
ella q
uarta e
dizione d
el Cir
cuito Da
d
aF
abrizio M
nza
Sardegna
curato
dall'associazione
Enti
Locali
per
Spettacolo.
antagonismi,
ocali p
er lo Sp
ntrecciando a
ntagonismi,
Sa
rdegna cu
rato d
all'associazione En
ti L
ettacolo. IIntrecciando
inquietudini,
aspirazioni,
virtù,
crudeltà,
coreografo
smorza
l'intensità
delle
magiche
della
in
quietudini, a
spirazioni, rrivalse,
ivalse, vir
tù, cr
udeltà, il co
reografo sm
orz
rza l'in
tensità d
elle m
agiche lluci
uci d
ella
una
lettura
inedita
psicoanalitica
che
scava
nell'inconscio
che
per
pesare
ffiaba
iaba ffornendo
ornendo u
na le
ttura in
edita e p
sicoanalitica ch
e sca
va n
ell'inconscio e ch
e ffinisce
inisce p
er p
esare
non
poco
sull rracconto.
nel
modo
cuii è st
stato
danzato,
spettacolo
ha
applausi
n
on p
oco su
acconto. IImpeccabile
mpeccabile n
el m
odo in cu
ato d
anzato, lo sp
ettacolo h
a rraccolto
accolto a
pplausi
caldi
generosi.
ca
ldi e g
enerosi.
Carlo
Argiolas
Ca
rlo Ar
giolas
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 1
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 2
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 3
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 4
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 5
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 6
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 7
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 8
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 9
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 10
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 11
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 12
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 13
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 14
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 15
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 16
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 17
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 18
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 19
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 20
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 21
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 22
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 23
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 24
DossierPresseNyataQrk-fev09
03/02/09
10:34
Page 25