Creation for 3 dancers
Choreographer and director Loris Petrillo
With Loris Petrillo, Yoris Petrillo, Luca Zanni
Production Twain 2018
with the support of MiBact and Regione Lazio
in partnership with Scenario Pubblico/CZD – Centro Nazionale di Produzione Danza / Festival Orizzonti Verticali/Fabbrica Europa – San Gimignano
in residence at Scenario Pubblico – Catania, Centro d’Arte e Cultura – City di Ladispoli
The project sees the comeback of Loris Petrillo together with the dancers Yoris Petrillo and Luca Zanni.
What does one mean when talking about Powder?
Powder, in full, is a unit of tiny particles of dry sand, lifted by the wind and dropped everywhere. In its dynamic movement, it creates clouds; it rises and flies; it can be thrown, deposited, mixed.
But Powder is also associated with human tradition, spirit and essence; it is a sign of mourning in the act of casting it on the head.
Figuratively speaking, Powder indicates the passing of time and reminds us of abandon and oblivion.
Everything turns into Powder: the mountains become deserts, men become Powder.
It surrounds our living space, it settles, it stays suspended.
We are made of Powder:
quia pulvis es
et in pulverem reverteris
for dust you are,
and to dust shall you return.
Side A > the creative process
With the path Loris Petrillo began in production 2011/2012 One plus One Equals One he investigated space in connection with sound. That presumption brought him to investigate on how the body, just like sound, reacts to an imput and to the space in which it receives it.
But the body is nothing but a “heap of powder”, atoms of compressed matter which doesn’t blow into space thanks to its density and gravitational pull.
Thus, what happens to the matter-body when it is driven, thrown, mixed?
How does it relate to the Powder surrounding it? How does it react to the Powder which it is made of? Can the body take different forms relating to its substance and space?
Based on what was already explored in “One plus one equals one”, the production “Powder” extends the study of physical dynamics which affect body movement, specifically body-Powder.
The body becomes an instrument and a place for investigation and, linked to the element, evokes its significant, its sense.
The body-powder moves, breaks up and starts a dynamic movement, struggling with its component forces; it produces trajectories where dance becomes a technical act, a performance, an image, a poem.
Side B > the completion
With his latest two creations Van Gogh and Don Quijote, Loris Petrillo projected his investigation on a social thematic: the uneasiness that a man feels because of his life choices and patterns of thinking that don’t comply with the rules of society.
Both Van Gogh and Don Quijote are lonely men, or more accurately, left alone in their foolish delirium that looks for and suggests a different life, a more human one. But nothing can be built if not shared. That’s the reason why their purpose soon turns into a trick of the mind and, in the eyes of the world, into an inexplicable mental disorder to contain because the survival of the society and its codes of behaviour have to be safeguarded.
So, in a continuous line with the previous two creations, Loris Petrillo concludes his own personal dialogue with solitude through the last one “Powder” that represents both the prosecution and the ending.
Therefore, the powder is that of the colours of a Van Gogh who ends to paint, that of the ground of a Don Quijote who ends to fight.
L. Petrillo draws a veil over which it is not possible to find a solution and, from an external perspective, looks at the issue of a man forced by his nature to carry out a solitary fight in the name of laws written in the Universe, constantly repressed or strongly discouraged by social laws that prevent the completion of them.
In an intentionally male view that ignores and goes against the times that seem to oblige people to a comparison with the feminine, Loris Petrillo sets out to assert that a new awareness of his own identity is necessary for the man, already fragmented in times like these, even before the encounter with the female being.
If Van Gogh is a fragmented man and Don Quijote a strong-willed man, the absence of characters in Powder opens the door to a potential man.
The scenery is apocalyptic. There are no identifiable characters, but three figures who move within an empty space without any pretence of subjectivity.
Thus, starting with a necessary reconquest of nothing to which we belong, of the powder from which we were born and to which will return, Loris Petrillo draws his choreographic design and puts himself in the play, taking first-hand note of the powder that devours every space it occupies, as the time of which is a symbol. Nevertheless, he re-appropriates it, in the view of who, abandoned any tempts of the encounter with the other (or the other, already absent, refuses it) gets ready to reconcile with his own memories, by realising them in a vortex of beauty.