Russian and Swedish Ballets
with Duccio Brinati, Marco Mazzoni
documentation and historical consultant Duccio Brinati
production FerraraArte, Kinkaleri
There is a part in performing arts’ history that affects us directly as a company; it is the one that begins when the show is committed to destroying its safety, when you put directly in connection with the existing and when every rule exists only to be knocked down and recast. We’re talking about that moment in history of early twentieth century that comes as an upheaval of all values and of all modes of perception of the artwork. The historical avant-gardes of the beginning of the century give rise to the gap where, since that moment, you go to place all the contemporary art and all deviations and devastation of the individual millennial disciplines: dance and theatre. Everything will fall into doubt by that time and everything will require the actual presence of the public/audience as one to whom the message is not directed but a vision of the world and things and a willingness to participate. In our case we will focus our attention, but it will be impossible to continue without finding connections between different artistic disciplines, in the transformation of the classical ballet into the derivation of the modernist, futurist and dadaist: Russian and Swedish ballets.
Hit Parade was conceived as a lecture-performance thinking of an audience of young students (high school students) that in itself have little familiarity with the methods and motives that drive an artist and his work to unknown boundaries.