video

photo Edoardo Oppliger

"Dentro Jawlensky" “I don’t have wings to fly if not in the dimension of my art. So I always fly high, as high as I can.” “I paint for long hours until darkness surprises me. Light! Light!” Alexej von Jawlensky Co-produced by Teatro San Materno, Ascona and by Alexej von Jawlensky-Archiv S.A. Choreography and Directed by Tiziana Arnaboldi Performers Dancers Eleonora Chiocchini, David Labanca Soprano Singer Laure Barras Guitar Mimmo Prisco Percussion Luciano Zampar Video Designer François Gendre Lighting Designer Felix Leimgrüber foto Edoardo Oppliger grafic Cristina Morinini «Playing he was painting » He gave voice to the color «that organ resounded in him and he had to play it» Colouring, musical and gestural shades compose the framework "Dentro Jawlensky" to meet intimate and deep layers and become a single "here I am !". An invitation for performers and audience to open a new space between conscious and unconscious, between visible and invisible, a step beyond beauty, looking for that inclined way that observes and contemplates the outside world as a never ended hug. It is a dance of music, voice and gestures that develops in different points and gradually spreading is dragging everyone with it. Space turns, different languages questioning between tensions and relaxation, between full and empty volumes, between perpetual motion and stillness, between open and closed glance. The chaos that follows (lines that collide, draw near, arrange, disturb, outline and destroy) aims to delete the external differences to lay bare our true identity, where thoughts, experiences and ideas wander in a continuous becoming of vibrating inner resonances. Paraphrasing Kandinsky, who had established a close collaboration with Alexej von Jawlensky, I would say: “Offer your seeing to painting, your feeling to dance, your listening to music, to voice, and ... forget about thought. Now ask yourself if the effort of seeing, feeling, hearing allowed you to wander within a world unknown so far. If you find an answer, what else do you want?” Tiziana Arnaboldi "I am supporting this project with great enthusiasm because it opens doors to a new way of understanding revolutionary experiments of the past, but which are current, contemporary, still valid in their ability to open minds, step over boundaries, merging artistic languages “that seem different but are intrinsically united." Angelica Jawlensky Bianconi The painter Alexey von Jawlensky stayed in Ascona from March 1918 to March 1921. A moment of great artistic fervour and constant meetings with great personalities of artists such as Arthur Segal, Ernst Frick, Marianne Werefkin, Paul Klee, Alexander Sacharoff, Clotilde von Derp and many others who resided on the hill of utopia: Monte Verità in Ascona. Many meetings also occurred at Teatro San Materno with dancer Charlotte Barra. “Musicians stand up and the notes of guitar, accompanied by sound vibrations of cymbals resonate throughout the room, interweaving with movements and song: it looks like sound vibrations want to become one with the breath of the soprano and the heartbeat of the dancer. Sometimes light strikes the cymbals, creating strange glare reclining on the wave of human voice, enlightening as in a hall of mirrors, hands and arms spinning. As if this had suddenly goaded each artist, the “crescendo” takes off: vaulting become faster, ceaseless following one another, while song rises in tone, sometimes it becomes cry. Musicians seem to have lost all control: notes pile up, collide, dominating everything, while the sound of cymbals, beaten or smoothed with strength, seems to accompany the light that comes and goes because the sky is overclouded. In little time the place is wrapped in a turmoil of movements and sounds that suggests a rough sea.” Alberto Jelmini, poet - September 17, 2012, impressions visiting rehearsals

Dentro Jawlensky