The Teatro delle Moire is based in Cusano Milanino and has been active for several years in the Italian theater scene, focusing on training and producing shows that blend various artistic languages. Founded by Alessandra De Santis and Attilio Nicoli Cristiani, the group engages in a broad spectrum of activities, including organizing a women's dance and theater festival in Milan called Danae - extra-vagant events of the new female scene, which is now in its fifth edition. Now ready to embark on a new challenge centered on a different relationship with the audience, Teatro delle Moire has devised two series of intriguing interventions to be performed in non-traditional theater spaces: Assaggi da Vetrina and Bocconcini all’Improvviso. The first intervention, as the title suggests, takes place in shop windows; the second in pubs and bars among regular patrons.
The Oriente Occidente Festival has chosen to host both works, distributing the performances in city spaces, thereby 'renewing' two rituals common not only to Rovereto: shopping or strolling among the shop windows and the evening post-show rendezvous.
And if shop windows are, by definition, a female domain – men usually sigh when accompanying their partners – even the 'shop window' performances by Teatro delle Moire are mostly entrusted to female performers and characters who upend stereotypes or reinvent classical images, ready to surprise the casual audience inside the shop or catch the attention of passersby.
There are many female figures in these shops, an unconventional Minnie, an Adamic Eve in a bursting and ironic conflict with love, a fragilely unbalanced Medea, women discovering their own otherness, women enslaved by denied rights like the geisha, here portrayed as an alienated and robotic being.
The Bocconcini all’Improvviso, set against the backdrop of tempting happy hour buffets, are interventions where dancers unexpectedly engage among the drinks of the patrons, inevitably drawing attention to themselves. Seated at the bar tables, they stand up, become characters, establish relationships with those present, disrupting the established order of this 'space' of decompression from work anxiety that today's youth carve out before retreating to domestic quiet. It is not certain that the patrons are theater enthusiasts, have experienced it in any way before, or can grasp the poetry of this interlude. However, after witnessing these performances, they will undoubtedly be intrigued.
