{"id":1621,"date":"2022-03-10T12:26:59","date_gmt":"2022-03-10T11:26:59","guid":{"rendered":"https:\/\/www.silviagribaudi.com\/works_\/peso-piuma\/"},"modified":"2023-04-11T19:09:07","modified_gmt":"2023-04-11T17:09:07","slug":"peso-piuma","status":"publish","type":"works_","link":"https:\/\/www.silviagribaudi.com\/en\/works_\/peso-piuma\/","title":{"rendered":"Peso piuma"},"content":{"rendered":"

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PESO PIUMA<\/h1>\n

[\/vc_column_text][vc_empty_space height=”20px”][vc_separator color=”black”][vc_empty_space height=”20px”][vc_column_text]Peso piuma<\/em><\/strong> is a performance inspired by \u201cThe dying swan \u201cand in particular by its the first version, <\/span>composed in 1901, created by choreographer Michel Fokine and danced by Anna Pavlova, which was on stage for the first in 1907 in San Pietroburg.<\/span><\/p>\n

In her interpretation, Anna Pavlova included in the choreography a set of movements that were the expression of her own way to feel, thereby offering a revolutionary act that betrayed the codes of dance in the 20th century: the roles of authorship between choreographer and performer would go beyond the set boundaries, they would blur. Therefore the dance that is brought on stage is owned both by the choreographer and the performer, it is impossible to know to what extent it belongs to one or the other.What invisible legacy will remain for whomever will dance that choreography?How do you transfer a movement and how is it revisited? Where do past and present meet, in one\u2019s body?How do gestures transcend time?<\/span><\/p>\n

In 15 minutes, with the audience, I repeat the search for an intimacy of the body, the abandonment to one\u2019s body. Reconstructing new movements, with effort and joy, repeating those arms and that broken neck of Pavlova\u2019s. I try to start from my own body with those steps that build a momentum within the fall. It is like falling to rise up again.<\/span>[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_single_image image=”1450″ img_size=”full” alignment=”center”][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”1449″ img_size=”full” alignment=”center”][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1577109682765{padding-right: 8% !important;padding-left: 8% !important;}”][vc_column width=”1\/2″][vc_column_text]<\/p>\n

credits<\/u><\/h4>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1577109682765{padding-right: 8% !important;padding-left: 8% !important;}”][vc_column width=”1\/2″][vc_column_text]by and with <\/span><\/em>Silvia Gribaudi<\/strong><\/span>
\n<\/span>duration <\/span><\/em>15 min\u00a0<\/span>
\n<\/span>music <\/span><\/em>Nicola Ratti<\/strong>
\n<\/span><\/em>production <\/em>Associazione Culturale Zebra<\/strong>
\n<\/span>photo<\/em> Andrea Macchia, courtesy Festival Bolzano Danza***<\/strong>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]Peso Piuma<\/em><\/strong> was created within the project SWANS NEVER DIE<\/strong>, a 2-year project conceived by<\/em> Lavanderia a Vapore \u2013 Centro di Residenza per la Danza (Piemonte dal Vivo \u2013 Circuito Multidisciplinare dello Spettacolo, Coorpi, Didee Arti e Comunicazioni, Mosaico Danza, Zerogrammi);Operaestate Festival Veneto e Centro per la Scena Contemporanea CSC Bassano del Grappa;Triennale Milano Teatro;Fondazione Teatro Grande di Brescia;Festival Bolzano Danza \u2013 Fondazione Haydn;Gender Bender Festival;\u201cMemory in Motion. Re-Membering Dance History (Mneme Dance)” \u2013 Universit\u00e0 Ca\u2019 Foscari Venezia;DAMS \u2013 Universit\u00e0 degli Studi di Torino<\/strong><\/span><\/p>\n

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video trailer<\/u><\/h4>\n

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photo<\/u><\/h4>\n

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