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.
With Poudre d'or, Valeria Magli presents in Rovereto (it was already presented in Bergamo, two years ago), we venture into a gesture-music relationship that is particularly interesting precisely for ‘The Sound of Theatre’: here, in fact, Satie's music serves as source material, but as an unprecedented doubling of the role of the performer, who becomes a musician (at the piano) and a dancer at the same time.
