The latest generation of Italian choreographers is ever-changing and continuously evolving. This year, Oriente Occidente has chosen to host two of the most significant artists in our landscape, who have emerged in the last decade as proponents of a unique poetic line, consistently coherent and precise. Following Michele Di Stefano and his spatial magnetism, it is now Alessandra Sini's turn with "Sistemi Dinamici Altamente Instabili" to present her abstract and visionary conception of dance to the Festival audience, which includes experimentation with video, sound, and imagery.
The group originated from an informal experience several years ago and in 1999 became formally known as "Sistemi Dinamici Altamente Instabili" under the guidance of Alessandra Sini, Paola De Rossi, and Antonella Sini. By 2000, the original core expanded to include Francesca Sassi, Simona Lobefaro, Serena Intilia, and Ester Silvagni, establishing new collaborations with the musical band Surya.lab (Matthew Mountford and Joe Casagrande), composer Stefano Savi Scarponi, Riot Generation Video, and Stefano Montinaro for visual image processing, Francesca Donnini for organization, and Max Mugnai for lighting design.
Over ten years of activity, "Sistemi Dinamici Altamente Instabili" has created around ten shows and performances, notable among them "Acquario in Macadam" ('94), "Onna-gata" ('97), "Bambara" ('98), "GAP-spettacolo multiplo-" (2000), and more recent works like "Itinere.e" (2001), "Tonine" ('02-'03), and "Hapax" ('03). Carrying a poetic line based on illogical relationships and abstract connections, on sudden and unexpected appearances of sounds and images, their works are tableaux vivants that disconcert the audience. There is no storyline or narrative in their choreography, but rather a complex process based on structured improvisations.
"Transisters -installazione ubiqua-," the work presented by "Sistemi Dinamici Altamente Instabili" in Rovereto, is part of an installation project experimenting with different exhibition modes. Designed for non-theatrical spaces delineating different environments, the work involves six performers and is structured in pairs. The actions of each pair are discovered by the audience (moving from one environment to another) in an almost voyeuristic manner, as the events have a distinctly private "flavor". The existence of each pair revolves around a close relationship between the acting and the acted-upon body, between the driver and the driven, both immersed in a space of action devoid of any naturalistic reference. The creative intent is to surpass technical and stylistic discourse to experience a meeting in an 'anomalous' place without coordinates or references. The action unfolds on small dance mats measuring four meters by four, each immersed in a different sound and light environment: in some cases, it is the lights that lend poetry to the bodies, in others, the slides - projected in real-time - or video processing create an illusory deviation from reality.
