Dall’esperimento sociale dello psicologo Stanley Milgram nel 1967, all’era 3.0: Ossigeno applica la Teoria del mondo piccolo al proprio Nome d’Arte, attraverso la storia dell’arte e della cultura, in 6 celeberrimi gradi. From psychologist Stanley Milgram’s social experiment in 1967, to the 3.0 era: Ossigeno applies the Small-World Experiment to its own Stage Name, through the history of art and culture, in 6 world-famous degrees. / seigradi sixdegrees stage name nome d’arte 54 55 #stage name curated by Fabiola Triolo id. no. NAME, SURNAME, OVERVIEW. Like a spatial coordinate that contains dimension and direction. The prophecy more or less unwittingly encoded in a baptismal name. A manifesto - or if you prefer, a declaration of war on the paralysis of action, on the narcolepsy of thought. CollettivO CineticO: there's a clue in the capital letters that open and close each word. C and O. An abbreviation, an intimation of alterity, like the name of their most ambitious project: a decade-long choreographic architecture that embodies - like the letters between the C and the O - many CollettivO productions and over 70 performers relocated in it, fragmentary in its episodic being, set in motion since its birth on the physical place as a Foucauldian heterotopia - whose, in theatre, the fourth wall is the perfect example - via a narrative impulse adding a 3.0 to a Proustian recherche attitude. The year was 2007. A new-born project whose fate was pre-ordained. Hypercontemporaneous movement of bodies, a kinetics of vision somewhere between the nerd and ultrapop aesthetics. Bodies of flesh. Landscapes of muscle. Luminous bodies. Day-Glo sinews. Sharing : Choreography = CollettivO : CineticO - the law of proportion: multiply it, turn it upside down, take it apart and put it together again, the result is always the same. Scientific language and sms abbreviations like an esperanto that holds together a dancing Tower of Babel. CollettivO CineticO was founded in 2007 and is led by Francesca Pennini [Ferrara, 1984] with the able dramaturgical assistance by Angelo Pedroni and logistical by Carmine Parise. Kinetic in its cast of performers as it is in the fluidity of its performative approach. A director who dances like an urban goddess and an angel-faced manga-devouring nerd, a former musical world champion and a corpulent mezzo-soprano, high school students selected with analytic zeal and their eminently possible grandparents, practitioners of competitive sports, visual artists and performers with voice, legs and hi-tech fingers compose the skeleton of a refined and exquisitely proportioned body, in solos or ensemble scenes, depending on the production of which raising the dramaturgy - CollettivO already has 45 to its name, all quite different and all equally genius, in locations ranging from theatres to private dwellings, museums, urban settings, public toilets, web streaming. Organic body that changes form but not substance, kinetic body by virtue of its anatomy. LuCiD and luDiC. CollettivO CineticO plastically explores the nature of the performative event setting scenic devices that liquefy contemporary art in social networking, entomology in Tanztheater, recital in mathematics, George Orwell's Big Brother in televisual Big Brother, emoticons in physics, Superman in Superquark, Mendel's laws in Händel’s symphonies. A multi-form inquiring willing whose roots lie in the artistic background of its centre of gravity, Francesca Pennini, between classical ballet and rhythmic gymnastics, butoh dance and martial arts, free diving, yoga and competitive disco dancing, whose minute form articulates a gargantuan eclecticism formed in London's Laban Centre and as a dancer in some of the biggest productions by the monumental Sasha Waltz & Guests ensemble in Berlin. An impressive career, faceted like a priceless diamond, whose brilliance becomes requirement for collaborations like the recent one with Balletto di Roma, as the choreographer of “Bolero/The head down tribe” - zombies hungry for selfies, the aesthetic something like a Gosha Rubchinskiy runway for Adidas - or the ongoing project with the professor of contemporary museology Antonella Huber for university conferences on the rapport between dance and the museum space, in relation both to her work with CollettivO and the experimental dialogues in the productions of Sasha Waltz [like the historic performances in which Pennini took part, “Dialoge/Neues Museum” in Berlin and “Dialoge/maXXi" in Rome, both from 2009, both to mark the inaugurations of the two world-class museums]. After a series of successful stints as artists-in-residence that began at Santarcangelo dei Teatri in 2008 with “Eye was Ear”, since 2012 CollettivO CineticO moved to its permanent at the Claudio Abbado Theatre in Ferrara. Since 2013 the group's productions, nowadays circuiting in the whole world, have received official assistance from the Italian Ministry of Culture and Tourism, and since 2016 CollettivO has become international artist in the APAP - Advancing Performing Arts Project network. Some prestigious co-productions - including RomaEuropa Festival for “<age>” [2012, 2014], Milan's Teatro Franco Parenti for “Amleto” [2014], the Venice Biennale for “Variazioni posturali degli abitanti di stanze asimmetriche in regimi metereologici controllati (chi inciampa lo fa apposta¹)” [2014], Teatro delle Briciole for “Sherlock Holmes” [2015], Théatre de Liège and Torinodanza Festival for “Sylphidarium - Maria Taglioni on the Ground” [2016] and, respectively, the Museums of San Domenico di Forlì and Palazzo Grassi/Punta della Dogana for the site-specific creations “�C1C - �uando Cade 1 Corpo²” [2018, finissage of the anthological exhibition of Mustafa Sabbagh “XI Commandment: You shall not forget”] and “Chiedi alla pelle di rispondere³” [2018, Set Up Festival] – stand alongside a raft of international awards, the latest being the UBU Prize in 2017 for best dance production 2016 to “Sylphidarium - Maria Taglioni on the ground”. In her essay “Nuovo Teatro Made In Italy [1963-2013]”, Valentina Valentini describes the contemporary Italian theatre as "a chemical compound and a collective creation". Replace ‘chemical’ with ‘kinetic’: the tribute is clear [and the result doesn't change]. www.collettivocinetico.it | #becinetico 1. translation: Postural variations of the inhabitants of asymmetric rooms in controlled meteorological regimes (who stumbles does it on purpose) 2. translation: W1BF – When 1 Body Falls 3. translation: Ask the skin to answer CollettivO CineticO 10 miniballetti, 2015 credits: Salvatore Laurenzana
RkJQdWJsaXNoZXIy NDUzNDc=