Bert & Nasi Inteatro Festival: a simple and accessible dance to create together

The Inatro Festival 2022 opens with The start on June 15, still unreleased in Italy, by the Franco-British duet of dancers Bertrand Lesca and Nasi Voutsas. The international hospitality industry is rethinking in a “slow” way, in contact with the territory, which is why they have been awarded a special project by the Arts Council. A residency, two workshops and two shows, The End, the company’s previous work, will also be presented on June 16. Article in Media Partnership

Photo by Alex Brenner

In The beggining as a The end, dance is a projection of the future. What is your idea of ​​the present that anticipates the future and what is the relationship between the two?

In the end he wants to speak of the future as something we can only imagine, but which affects our perception of the present. The show begins with a text that explains how one day the Earth will approach the Sun and disappear, and it is from this scientific evidence that we wanted to start projecting ourselves towards a future in which we imagine our life from the moment we are no longer together until we die. We would therefore like our tension to illuminate the present by reminding us of the importance of being together now, beyond a pessimistic view characterized by death and sadness. Let us imagine, then, a future in which we try to reinvent our relationship regardless of the perspective of the end.

Photo by Alex Brenner

Regarding the relationship with the territory and the community of Polverigi, how is the artistic residence in Villa Nappi?

We are now working on our new work The beggining and all is well. This is the first time we have worked in Italy and the Villa Nappi space that is at our disposal is perfect, very beautiful and facilitates concentration. But the welcome is also excellent and functional to the creative process. So, we hope that on June 15, the public will be able to appreciate the fruit of our artistic residency.

Bert & Nasi is a duet but you have also participated in other collective projects. How does your internship change when you work with ensembles, other performers, and dancers?

We recently carried out a project with a Catalan company called Atresbandes entitled I don’t care (ed. 2020). It is a completely different approach: as a duet, only our two voices are in tune with various aspects that we know how to share and, therefore, it is simpler; with a set, on the other hand, it is just as interesting even if it is an ongoing challenge that involves a comparison with other performers. Then there are those other projects where we go to a place and involve two more people on our way, like the residence. Ongoing work in progress at Villa Nappi, where we met a dozen Polverigi participants over the age of sixty who inevitably conditioned our aesthetics both in the process and on stage. Also for The end we worked with a young local performer who introduced us to the theater where we did the residency.

Photo by Alex Brenner

You have won the Total Forced Theater and Entertainment Award for your political dance. How is the aesthetics of your gestures related to politics?

Ours is a very simple and minimalist dance that will not impress people. Of course, we try to present to the public dignified but not virtuous shows, so that no one feels excluded and everyone can make these gestures, so we find it interesting to involve groups of participants in our ongoing work to teach them those moves. We believe that this is the political aspect of our dance that also refers to the ability to design with the few financial resources we have. We started working in a room, it was just the two of us and the audience; this austerity and humility is inherent in the policy we pursue.

In your opinion, what is the biggest challenge of dance today?

Assuming that for us every dance project we do is a challenge, because we have never followed a method or attended a school, we work hard and believe in our movement and everything that concerns it is always a test. . Avoiding a broken ankle is also a challenge (smile) so as not to slow down the work after what we have experienced in recent years. The real challenge is to keep doing art, always, and try to do it together.

Editorial board

THE BEGGINING

performers Bertrand Lesca and Nasi Voutsas
and with Giampiero Piantadosi, Valeria Clementi, Maria Grazia Giordani, Maria Teresa Giglioni, Antonietta Giovagnoli, Cristina Messora, Patrizia Falcioni, Rossana Lovato
choreography Laura Dannequin
video Guillaume Cailleau
technical manager Enrico Aurigemma
Bert & Nasi Production Ltd.
Distribution by Le Bureau des Paroles
co-production The Lowry – Salford, UK; Cambridge Junction – United Kingdom; Mythos Festival – Rennes, France (ongoing)
Support Staatstheater Mainz – Mainz, Germany;
GIFT Festival – Gateshead, UK; Marche Theater – Polverigi, Italy; Le Tetris – Le Havre, France; Fragment Festival (s) – Paris and region

THE END

created and performed by Bertrand Lesca and Nasi Voutsas
choreography Laura Dannequin
light design Jessica Hung Han Yun
lighting assistant Ruth Green
the director of the company, Ginny Graham
producer Hannah Slimmon for Farnham Maltings

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