stefano mazzotta | zerogrammi 2016
Ever failed. No matter. Try.
Again. Fail again.
JENTU is a creation for two dancers inspired by Miguel De Cervantes’ Don Quijote. In the careful interpretation of Cervantes’ story, the interest in the adventures of the Spanish hero and his companions(Sancho Panza and Dulcinea) has shifted to the meaning that these challenges may still have for us today: actions without a happy ending, useless, accomplished in the background of a small room, able to anticipate the ethic of a new hero model without special powers, no glory or fanfare to announce his fragile humanity. The brightest colours are diluted on the stage through choreographies, solos and duets, actions and silences permeated by a delicate mood. We perceive the figure of a hero that is the symbol of the failure, who rises to try again, all over again, bravely. A hero who tells us about the ability to accept to fall, to persist in pursuing his own ideal, in every new adventure rediscovering the wonder of the journey. So, the characters of JENTU are exiled from a time which they do not correspond to or from a place that was stolen from them; suspended, foreigners, they inhabit a Leopardi’s landscape whose threshold is represented by the yield, the only possible place of belonging and meaning.
(...) Semplicemente il viaggio verso le proprie aspirazioni, le proprie passioni, la propria bellezza. Così tentano, falliscono, ricominciano, senza mai perdersi d'animo i due protagonisti di Jentu. Novelli Don Chisciotte, anti-eroi contemporanei, che perseguono i propri ideali, viaggiando insieme, paralleli, spronandosi a vicenda. E' racchiusa in questa metafora poetica del viaggio e della non resa al mondo la riuscita di Jentu (...)
(Maria Luisa Buzzi | DANZA&DANZA)
(...) un racconto a tappe, composto da una potente gesticolazione e da larghi passi danzanti, quasi tesi e protesi ad elastico da una finestra, luogo d’incontri e partenze. L’hidalgo è un anti-eroe, combatte contro illusioni, glorie e potere mondani. Jentu nella sua forma rotonda e compiuta riesce a raccontare tutto ciò con poesia. (...)
(Marinella Guatterini | IL SOLE 24 ORE)
(...) Le coreografie ideate da Stefano Mazzotta evocano diversi stati d'animo, donandosi all'occhio e al cuore di chi guarda.
(Miriam Arensi | LA VOCE)
(...) La partitura fluida di contatti e prese, di complicità e fratellanza (che rarità vedere un duo che non evochi l’amore tra l’uomo e la donna!) si alterna a malinconici momenti di sospensione alla finestra: quasi la realtà, impossibile da ignorare, finisse sempre per richiamare a se stessa i due eroi. E anche se Chiara/Sancho non cessa si spronare il suo cavaliere (“alzati! corri! combatti!”), Stefano/Chisciotte, appeso il cappotto al chiodo, si allontana. Ma fuori dal palco, si sa, è ben più difficile dar corpo ai sogni.
(Maddalena Giovannelli | STRATAGEMMI)
Jentu, Zerogrammi’s rewrite from Cervantes Don Quijote, tells a surrendered science, a militancy of failure and Poetry. It is a fourth state that is moving toward the unthought, telling the wonder of belonging to wind, leaves, rain, mutilating efficiency, indifference, destroying the idea of profit, disarming disenchantment. He is a soul on the road, walking to see, to perceive, to save.
Undressed of comic aspects, which are not part of its essential nature, Don Quijote embodies the research of the ideals of truth, goodness and beauty.
He is idealist devoted to justice and the others’ good, not only he neglets himself in the effort to reach them and to see them realised, but he pushes his willingness to sacrifice until the acceptance of any adversity, any risk, any fate, just to stay faithful to the task that has been proposed, in utter disregard of himself. The sublime and huge task of Quijote is to be the hero of all good causes, the defender of all people, the servant totally disinterested of beauty beyond all distinctions. He is the expression of a boundless faith in the truth that lies outside of the single man, not easy to reach, that needs victims, but that is accessible to the one who serves it faithfully, and with sacrifice.
He appreciates and evaluates his own life, devoted to the ideal for which he is ready to undergo all possible hardships, only as a means to embody that model to perceive truth, equality and justice on the earth. Don Quijote is the story of the poetry of a madman that tackles the prose of the world, of the fantasy and hope that provoke brazenly reality, of the diversity that challeng- es, to the bitter end, the so called normal. If we want to meet him, we should risk to enter his world, try to understand each other in front of his person, without silencing the questions that our world presents to us .
Can you venture along with Don Quijote, losing your head? After all, madness seems to be the necessary ingredient of any strong passion: from falling in love to the faith. Being apprised of the irony of the story allows for a deep reading of what we are and what we hope. Between wisdom and madness, competing against Don Quijote means to deal with the unjust history, with the force of ideals, and the cynical mockeries of those who observe with detachment and judge any commitment of peace and justice as insanity. The gaze of Don Quijote rests on the ambiguity of life without letting crush; he challenges convention and alleged obviousness, trying to hold together, paradoxically, passion and disenchantment.
An operation at a high price, because our hero is ridiculed and neutralized as crazy. Yet his madness can make us wise. The look of Don Quijote remains valuable for those who dare to hope against any hope even today, in the time of the single thought. Don Quijote is individual member of a species of madness that relies in large moans to be surrended. It is a holy crazy, an "innocent" crying because he hopes to be free from the enchantment of the world. Freedom is his passion, it merges with the thirst for justice, but justice, for him, will always be freedom; freedom and not order; freedom and not equality. The greatest ambiguity of Cervantes’ work is that the hero, who consecrates the effort of his arm and his unbending will to the release of all those he meets along the way, is the one who needs, more than anyone else, more than convicts and criminals, that someone rush to his rescue, to his release, to believe in him, as in front of a Christ on the cross.
That is the irony supporting this unprecedented vision of the hero for Cervantes, because the madness of Don Quijote sets before us the problem of human freedom, since you know that what suffers the hero equals the conflict that one day will be the ineluctable passion of all people. Thus, when we go towards him, we indeed contemplate ourselves. We all need to walk the path, tremendous but salvific, which leads to him, being aware that he will remain unreachable, because no one can ever imprison him in a clear definition. The question "Who do you think I am?" will continue to haunt us until the end of the world, because the infinite travelling is infinite anguish, but it is a unavoidable fear, if you want to give a value to life.
progetto, regia e coreografia/project, direction and choreography
Chiara Guglielmi, Stefano Mazzotta
drammaturgia e collaborazione all'allestimento/dramaturgy and collaboration to the direction
disegno luci/light design
Pim Off (It), CASA LUFT (It)
un ringraziamento a/thanks to
Chiara Michelini, Villa Cultura (It), Tersicorea T.Off (It)
con il sostegno di/with the support of
Regione Piemonte, MIBAC
durata/duration 50 min
scena/stage SMALL TO MEDIUM HALL
staff artistico e tecnico in tour/artistic and technical team on tour 2+1
trasporto scenografie e materiali/prop transportation AL SEGUITO/PROVIDED BY THE COMPANY
montaggi/set up lights and scenes 1 d.
smontaggi/disassembly 3 h