Bach à la carte!

by Marco Augusto Chenevier


PYUR SOPHIE SNELL (live electronics)

choreography and dramaturgy: Marco Chenevier
choreographic assistant: Alessia Pinto
musics: J. S. Bach e Pyur Sophie Snell
stage and light design: Marco Santambrogio e Monica Bosso

production: Cie Les 3 Plumes with the support of the Région Autonome Vallée d'Aoste

Coproduction: CCN Haute de France - Ballet du Nord de Roubaix and Performing Lands_Ass.culturale IdeAgorà/ Mirabilia Festival Europeo

Support in residency: Compagnia TPO -Teatro Fabbrichino - Prato

A concert begins: a cello, the suites of J. S. Bach resound.

On stage the cellist Serena Costenaro and the dancer Marco Augusto Chenevier.

The dancer's body is increasingly involved in a choreography from within itself, to the point of generating movement and displacement in space.

We want to start like this, in the most conventional way possible, and enjoy the wonder of Bach's compositions, his daring harmonic peaks, his rigorous metrics.

Precisely the rigorous metrics, after the first dances, will make the artists question ... so much rigor, in the long run, can turn into monotony!

The artists will then literally open a dialogue with the public and, through a simple and direct dialogue, will make themselves available.

Why not two, or three dancers? And which of the dancers do you want to see? A male duet? A female solo? What kind of costumes do you want the dancers to wear? How do you want them to move?

Do you want a sad song, a cheerful song? Or do you want a disturbing song?

Also: How would you like to hear Bach? More dynamic? More recited? And why not distort it, with the intervention of live electronics? Maybe you want the dancers to go out, to listen to music in peace ... or do you want a moment of dance, in silence, after so many notes?

Bach à la carte wants to make the public participate in the choreographic construction, allowing everyone to play and choose the elements of the scenic language.

In a playful way we also wants to investigate the mechanisms of participation, voting, majority and minority, and playfully observe what can happen in trying to "please everyone".

The beginning from a musicological approach, in an extremely dry concert form, evolves into a work that questions, once again, the posture of the spectator and the relationship to the work of art.