TITOLODADEFINIRE

“The body is the only means I have to go to the heart of things.”
Maurice Merleau-Ponty

In #TITLETOBEDEFINED, a team of five dancers coordinated by a choreographer, together with a video crew led by a director, attempts to engage with the present moment and the questions it raises, gathering thoughts and suggestions in order to transform them into body and reflection.

Between fullness and emptiness, across five short danced narratives, the project seeks to create a space for dialogue — a free zone capable of holding our aspirations and secrets, our memories and desires.

The project begins with an online campaign: a series of open questions addressed to participants through recurring social media posts (Instagram, Facebook). The responses — shared privately or publicly, in whatever form best expresses the sensitivity of each participant (short texts, words, images, videos, drawings, music excerpts, etc.) — become an open diary from which the five dancers draw material in the creation of their five danced micro-narratives.

Every body is a diary, each page containing an infinity of memories that determine who we are, the paths we take and the quality of our movement. We can learn to read through these “ways,” learn to dance them, and allow them to tell the rich vocabulary of our history.

We may be surprised to rediscover, hidden in the folds of an elbow, a smile belonging to childhood; suspended between the shoulder blades, the embraces left unfinished in moments of precious farewell; or wrapped within the fingers, the landscapes and faces we once pointed toward and preserved in memory so as never to lose their colour.

The body thus becomes a poetic space from which aspirations, impulses, memories and projections of the imagination emerge. Every body questions the world and its own relationship to it, according to a collective soul composed of memory, experience and desire.

From this questioning, each body develops its own vocabulary, acting and reacting to the world while embodying its meanings and contradictions.

Within the layered creative process that leads toward dance, this inquiry becomes the essential instrument underlying choreographic construction and its adherence to meaning. Every movement that composes the choreography emerges from the questioning of the self and from the relationship with the outside world — spaces, objects, people.

From the convergence of experience and perception, from the shift in perspective generated through encounter with the other, dance is ignited.

And it becomes a physical form of storytelling capable of speaking deeply to us because, having emerged from this journey, it no longer embodies the experience of the EGO, but of the SELF — something, someone, moving within the individual while speaking in the name of all, traversing, unsettling and opening questions while exposing fragility.