Does a new Italian dance exist? To pigeonhole the experimental experiences of our young dancers in this formula is perhaps a rash operation. The examples proposed do not justify the recognisable existence of a trend, of a strand, of a common way of addressing - manipulating, reflecting or filtering - the structures, the codes of dance. One speaks, for example, of American ‘new dance’, of French ‘nouvelle danse’. Questionable formulations too of course, and more than anything else instrumental, of convenience. But they do have a certain vague recognisability.
Francesca Bertolli, in Portofranco, announces that she wants to measure herself with ‘crowd sounds’, in a soundtrack composed for her by Arturo Annecchino. ‘I can only think, work, when I am in the midst of so many people, surrounded by the noise of life,’ says Francesca. ‘And it is on this starting sounto that I created my solo’.
