A Spellbound production with contributions from the Ministry of Heritage and Cultural Activity in collaboration with the Teatro Verdi Foundation in Pisa
Premiere: 6 March 2010, Pisa – Teatro Verdi
choreography and set concept Mauro Astolfi
dancers Maria Cossu, Mario Laterza, Giuliana Mele, Claudia Mezzolla, Giovanni La Rocca, Cosmo Sancilio, Yadira Rodriguez Fernandez , Violeta Wulff Mena, Fabio Cavallo
multimedia direction Enzo Aronica
lighting design Marco Policastro
music Antonio Vivaldi
original music Luca Salvadori
set designing Esse A Sistemy
choreography assistant Adriana De Santis
Notes From the Artistic Team
MAURO ASTOLFI, CHOREOGRAPHY AND DIRECTION
Behind the apparent iconographic framework represented by the succession of the “seasons” with all of the symbolism attached to it, its atmospheric symbols find a very deep meaning, less visible, yet which still touch numerous and vast, though less subjective, areas. “My” four seasons lives outside and inside in a small space which rises, drags and suffocates at times, but by which heals, unites, protects. It seems like a small house, but it is a ship, a tree, a mysterious space from which to watch the seasons change, a place where to witness first-hand the cycle of nature which renews you, and autumn, it is not only the leaves which fall, spring, not only flowers which bloom, but a nature within us, a magic, primordial ritual… the event you imagine, then try to imitate, then you try to capture the spirit of the event. The events cause you to become an integral part, participating in the drama of a nature that dies, but to see in this the seed of future rebirth. Spellbound lives this adventure deep in the earth and among the branches of the trees, when night comes, you return home.
LUCA SALVADORI, COMPOSER, ADDITIONAL MUSIC
The changing of the seasons is like a circle that stops and begins again, like a downward spiral continuing, uninterrupted, always different and always the same. Music is an ideal media to recount this perennial cycle of varied repetitions, but is not enough to explain clearly the solid reality that governs life on earth.
For this reason, I decided to use snippets which from time to time ignite a small reflection of a significant detail: the sounds of nature, the voices of the birds, the rhythm of dance, a melody of archaic taste, abstract electronic sounds, an unusual instrument such as the glass harmonica or bass flute, for example. A kaleidoscope of situations to gather from time to time, under the label of a “season” to provide a key part, evocative rather than explanatory: suggestions instead of explanations.
I tried to use the comparison with Vivaldi’s masterpiece in a positive way (the challenge would have been lost from the start, of course) trying to consider it as a dialectic resource: complementary in its differences, richness achieved by having multiple points of view to focus on an elusive object. As a consequence I approached different styles and materials, such as imagining the complexity of a landscape of sound that evolves looking for a reason to exist.
These songs were designed with dance in mind, for Mauro Astolfi’s choreography, and therefore, were born with the desire to be complete somewhere, outside the dimensions of pure sound, and aware that, once in the magical circle of moving bodies, it would receive something in return. Perhaps the mysterious spiral of intersections is another way to represent the elusive evolution of the seasons.
ENZO ARONICA, MULTIMEDIA DIRECTION
The body is the house, the skin is the walls of our world
The seasons exude their moods, states that evaporate through pores in the walls and create light, movement, mutation. It is the inclination of the axis of rotation which determines changes in our body, our home, and thus changes the angle of the rays that reach the surface, and in this transformation, the rays make light and recount water, earth, fire, air.