crediti foto

2008

on tour

INRI

The liturgy, in which gestures are repeated, becomes a dance of joined hands and swollen knees. Singing prayers in Latin learned by heart with the most implausible reinterpretations. The gestures and sounds of the religious ceremony are left incomplete for fear of making a mistake, in a theology where you safeguard yourself before sin, always surreptitiously in hiding just around the corner, becomes printed all over your face.

 

(Fabio Chiriatti)

(...) En travesti, con sottovesti nere, polpacci maschili ben visibili, veli in testa, borsette di cartone piene zeppe di ceri rossi e ampolle di vino tentatrici, i due esilaranti e diversissimi performer tralasciano gli accessori di un'irriverenza dolcemente innocente e mai blasfema, in una energica danza di genuflessioni, gesti votivi, mani giunte, anche avvinte in un corpo a corpo drammatico. E giungono nudi alla leggerezza purificata del loro Iesus Nazarenus Rex Iudaeorum.

(M. Guatterini, Il Sole 24 Ore)

 

(...) Definitely one of this Singapore Festival's top shows!

(Y. Sheng, The Flying inkpot)

 

(...) Due interpreti che mostrano al pubblico la loro eleganza, la loro armonia e la loro ironia in uno spettacolo che dal 2008 non ha smesso di arricchirsi attraverso l’Italia.

(D. Jaccod, La Stampa)

 

Inri is a celebration – never ever disrespectful – of the power of believing.

(N. Koh, The Business Times)

 

(...) Inri è uno spaccato di vita che, pur nella sua stilizzazione e nell’uso essenziale, quasi astratto, di simboli e momenti topici, si consegna nelle mani dello spettatore in modo sorprendentemente diretto e complice, affidandosi non solo alla forza espressiva di situazioni e figure caricaturali ma anche alla verità intrinseca che ognuna di esse custodisce.

(A. Giuliani, Nucleo Artzine)

The characters of this story, whose colors are grotesque, paradoxical, and improbable in their veracity, move on stage emulating a bizarre liturgy: a ceremony where (as in the deepest traditions of southern Italy) the sacred easily mingles with the profane, where religion smells of tangerines over Christmas cribs, where the Bolero echoes through the squares after holy processions. They describe a religion of devoted old rosary-bearing women wearing black clothes, whose God, after being blessed, follows them into their homes and everyday life. In the way they transform words and silence into dance, there is language of exposed bodies, a choreography of steps, now painful, now angelic, played as a parody of religious and daily sanctimony that belongs to our culture. There is a sacred and profane, cruel and tender, ironic and tragic universe in the liturgy of gestures, of askew genuflections, of awkward postures, of crooked forms of expression which exude an innocent clumsiness. In the details of praying hands powered by swirling and hypnotic designs reminiscent of Pina Bausch's dance. In the ecstatic stop-motions of mouths and eyes that call to mind Emma Dante's theatricality. In the liturgies of legs and arms put in Crucifixion, and a Baroque Deposition, which refer to popular icons. There are sounds and voices from small villages, processions of Virgins, litanies and scented rosaries, an ardent Kyrie Eleison on which the dance stuns and charms. There is the sound of a quiet mysticism, and the suspension of any miracle, there is hysteria of muscles and nude backs. Finally, there is in all this, in that wasteland, yet inhabited by visions, a sense of immortal and deep wait of the soul in search of spirituality. (Giuseppe Distefano | IL SOLE 24 ORE).

progetto e riallestimento 2017 a cura di

project by

Stefano Mazzotta

da una creazione 2008 di

from a 2008 creation by

Stefano Mazzotta, Emanuele Sciannamea

con

with

Chiara Guglielmi, Stefano Mazzotta

drammaturgia

dramaturgy

Fabio Chiriatti

musiche, luci, costumi e scene

music, costumes and scenes

Stefano Mazzotta

produzione

production

Zerogrammi

coproduzione

corpoduction

Festival Oriente Occidente (It), La Piattaforma (It)

con il sostegno di

with the support of 

Regione Piemonte, Mibac

un ringraziamento a

thanks to 

Dimora Coreografica (It)

progetto partecipante a

project participant to 

Anticorpi XL - Network Giovane Danza d'Autore

con il contributo di/with the contribution of Festival Interplay