LE SACRE
H+
COME UN RESPIRO
TERRA
INCANTO DALL' ORLANDO FURIOSO
ROMEO AND JULIET
L'APRèS MIDI D'ENFANT
WAM
ROSSINI CARDS
SERENATA
VESPRO
SCIARADA
LES NOCES AND PETRUSHKA
CANTATA
JIMI JIMI
PSAPPHA
MIDSUMMER NIGHT'S DREAM
OMAGGIO A BACH
CONTRUCTIONS
SONGS
PRESSION

ATERBALLETTO - FONDAZIONE NAZIONALE DELLA DANZA

LES NOCES AND PETRUSHKA

Les Noces investigates the ambivalence of the culminating moment of a loving relationship, that is to say the time at which the lovers decide to pledge their love eternally.
We asked ourselves: Let’s stage Noces but, what can we living now in the 21st century find to say regarding “wedding’s”? Can we say that still today in our society this is “the” unique rite that administers and sanctions the perfect union between two lovers? The reality that is all around us largely conflicts this affirmation. And for ourselves, we do not believe that it is like this either.
Therefore should we, in a banal fashion, simply attack this particular rite, demolishing it’s meanings as anachronistic and inadequate?
In truth, neither did this appear to us as an interesting perspective. It is too easy in this day and age to discredit a rite such as a “wedding”, already so worn out and humiliated by it’s simple yet formal connotations. So why are we so interested in talking about Les Noces?
For this: because in Les Noces, love duly accepts the wager to eternalize itself,(embodied by “til’ death do us part”), in turn accepting the risk buried within the ultimate acceptance of this wager. What risk? That matrimony suffocates the strength of love, fixing this love into the rigorous restrictions of society. Only by becoming “husband” and “wife” do the lover’s place themselves beyond the indissoluble limits of this union but, do this by way of an institution which from that moment onwards “obliges” them to confront every paradox of this indissoluble state: including the petrifaction of the sentiments regarding one’s duty or in the habitual way of living alongside a terrible frustration, regarding the ever possible ending of this love. In short, Les Noces, tells of the belief in the fact that eternal love exists and the forced ambiguity of being duty-bound to tell it to others, by getting married.
Mauro Bigonzetti and Nicola Lusuardi

Petruška tells us of the moment before any love affair begins, the moment in which a mysterious affinity primes into action a mechanism of fascination (the object of desire fascinates the observer that is desirous of it), or by seduction (the desiring person tries to become the object of desire of the one he desires, that is to find payment). It is told in a very violent manner: showing us also how much the fascination that is exerted on us by an object, is an ambivalent jumble of erotic and overwhelming pulsions. How much that we desire, that which makes itself desirable, sparking in us a vital pulsion, though exerting on us in the meantime a violence into which we can get lost. There will be pleasure if this is the priming of love, though there will be violence if the kindled desire cannot find it’s satisfaction. And if there is violence from this fact, the only way out will be by death…or by the falling back upon substitute objects, which in some cases is the same thing.
In this way, the simple fortunes of Petruška, the Ballerina and of the Moor, are suddenly illuminated for us in all their ever alive significance: above all because Petruška, the Moor and the Ballerina are all puppets and theirs is ultimately nothing but a representation to us, to the crowd of the fair, of all that seduction, every type of seduction that we are subjected to (including that of publicity, the soul of any fair), makes us live continually from eroticism and from violence. Inextricably intertwined, inevitably dangerous … however necessary. Mauro Bigonzetti and Nicola Lusuardi

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