text, direction and performer Jacopo Giacomoni
sound design Alessandro Gambato
video and visual Furio Ganz
set design Arianna Sortino
costumes Ambra Accorsi
assistance and graphics Eleonora Bonino
text winner of the special mention Franco Quadri of the Riccione Prize 2023
co-production Teatro Stabile di Bolzano
in residence at Teatri Riflessi/IterCulture, in partnership with gARTen (Lugano), with the support of Eu-ropean Festivals Fund for Emerging Artists - EFFEA, of the European Festivals Association (EFA)
support of IntercettAzioni - Centro di Residenza Artistica della Lombardia, Operaestate/CSC of Bassano del Grappa
text written thanks to the residency ‘Futuro Passato’ by Tinaos in collaboration with CSS of Udine

National Preview
Focus contemporary dramaturgy

Awarded the Franco Quadri mention (Riccione Prize 2023), È solo un lungo tramonto (It's just a long sunset) is an innovative theatrical work realised through the mechanical reiteration and disintegration of dialogues between the author and his father, who suffers from Alzheimer's disease. By dictating those conversations on the computer and redacting the transcripts, the text absorbed the same losses and repetitions that the father's memory returned, creating an intense relationship with time and forgetfulness. The result is a theatrical hauntology in which the past hovers over an off-axis present. There are no tensions, no twists, there is, after all, no dram-ma. It is just a slow disintegration. It is just one long sunset.

by and with Tom Cassani
consulting Florentina Holzinger
initial concept developed with the support of Karen Christopher, CJ Mitchell, BOLD!, Augusto Corrieri, Tim Bromage, Ocean Hester Stefan Chillingworth e Nik Taylor

National Premiere

Iterations, by English performer and choreographer Tom Cassani, centers on the artist's obsession with the skill and precision of magic tricks. Using his body as the site of deception, he multiplies magical illusions to challenge the laws of reality. However, instead of maintaining the mystery of his art, he deconstructs its artifice through a series of iterations, re-presenting the same scenes to reveal all their secrets. With his captivating charm and sense of humor, he draws us into his deceptions, inviting us to reflect on the idea of magic and what we perceive as seemingly impossible.

concept Alessandro Bernardeschi
choreography, writing and interpretation Carlotta Sagna, Alessandro Bernardeschi, Mauro Paccagnella
musical dramaturgy Alessandro Bernardeschi
lighting and direction Simon Stenmans
assistant choreographer Lisa Gunstone
video Stéphane Broc
sound Eric Ronsse
costumes Wooshing Machine and Fabienne Damiean
with Pietro Ercolino

With the Trilogia della Memoria Paccagnella and Bernardeschi, then in their fifties, faced the test of time by revisiting 20 years of artistic, cultural and historical association. Now in their sixties, they create this new show that takes its title from the 1913 film of the same name starring silent film diva Lyda Borrelli, a masterful dancer and actress with intense movements, charged with emotion, intensity and languor.
Ma l'amor mio non muore/Épilogue, a natural sequel to the Trilogia, is an ironic show that tells of the body growing old while the soul retains the verve to launch itself into unbridled acts. It interweaves intimate memories and collective memory in the imprint left by life on the three dancer-choreographers: Carlotta Sagna, Mauro Paccagnella and Alessandro Bernardeschi, Italian artists who emigrated to France and Belgium. A work where gravity and gaiety, nonchalance and disarticulation, self-irony, joy and gravity coexist. Because it is true that love does not die, but time passes and bodies carry its weight.

With the support of Wallonie-Bruxelles Théâtre Danse

by and with Anna Basti
cover photo Fabio Artesi

What happens if ballet is stripped of its whites, bars, bows, mirrors, tips, wood, repertoires, forced smiles? What happens if it is poured into the spaces of the city? If it becomes an instrument for all possible and imaginable bodies? With Le classique c'est chic we move within the urban landscape, maintaining the structure of the typical ballet class, but declined in the furnishings and spaces of the city. Bassano is rethought as an enormous space for diagonals and manèges, where classical technique is available to all, as a magnificent tool for understanding the body.