Bravo Iván Pérez
Full of dance
in the voids of the bolle
From the "Bolle Nardini", this time, we come out with a certainty: anyone proposed a choreography on the background of the architecture designed by Massimiliano Fuksas will be confronted with the work of the Spaniard Iván Pérez. The "Bolle" project in edition 2016 bears its signature and is intended in all probability to make its mark. The merit of a group of quality dancers (Christopher Tandy, Ines Belda Nacher, Kim-Jomi Fisher, Jefta Tanate and Iván Pérez) but above all a dramaturgy that communicates with the space. Namely that the creation of Pérez does not overlap the Bolle Nardini in mode set design, but it inhabits it. The result is a work whose paintings are open to different interpretations. The most immediate, the search of nature in a place whose beauty is the work of man. Thus, the first structures to accommodate the dancers are the branches of the only large tree that grow from the lawn. Or, again, the chlorinated water film on the black background which simulates a pond at the entrance of the building, is alive with the waves and the performers mimic suggest depth abyss. In the second scene, the descent down the stairs leading to the auditorium is an opportunity to simulate a storm that the dancers face moving in unison. It closes with the final segment that sees again the quartet dialogue with the "lake" at the entrance. All this before embarking in the glass elevator that leads the dancers to colonize the upper space, the two glass "balls" of Nardini Bolle. From nature to culture, in the sense of "human presence" in a current dialogue as few. Lights off. Applause.
Next to this reading, guided by the same Pérez, there is a second which knows even a little of science fiction. "We are in 3035 - the author writes in the program delivered to the public -, the balls abandoned for centuries are occupied by unknown inhabitants, for which the intruders are the spectators, first visitors for decades. Attention to how they relate to the environment ". So, in this sort of "future" from Day After the way you can imagine how a return to civilization is marked by the sounds of fierce, gradually soften up to leave, which brings up the stars. Original, pleasantly unpredictable and built for the space that has hosted: ¨The Inhabitants / a site-specific perfromance" is already a landmark.
Lorenzo Parolin / Il giornale di Vicenza
29 July, 2016 | The Inhabitants, Bolle Nardini, Bassano del Grappa, Operaestate Festival
Live magic. Interpreting light. Penetrating the suggestive and spectacular architecture of the Nardini Bolle through dance. These are transparent bubbles designed by architect Massimiliano Fuksas and commissioned by the grappa producing Nardini family.
This year Bolle Project set the challenge for Iván Pérez, Spanish dancer and choreographer. With his The Inhabitants he won over both public and critics. Produced very quickly, nevertheless it was precise, calibrated, verging on perfection.
Year 3035. The audience is a handful of visitor-invaders of a post-atomic reality, where the survivors of the human race climb trees by day and sleep in glass pods at night. Mankind re-emerges as animal, displaying their nudity naturally, moving salamander-like over water and monkey-like across branches. A dance that is a warning. A silent alarm call, primal, savage and yet very human and with a great formal elegance. The result is a wonderful marriage between ethics and aesthetics.
Anna Trevisan / ABCDance Blog
Magical, fantastic debut on July 28 of the Company INNE Iván Pérez with his "Project Bolle 2016" for Operafestival , in Bassano del Grappa, in the "space" of the architectures Bolle Nardini designed byMassimiliano Fuksas to celebrate, in 2004, the 225th anniversary of the date the company was founded. the protagonist of the traditional project of the festival that reads new dance creations in contemporary architecture of the Bolle Nardini, Iván Pérez has created a stunning choreography in a sort of lunar garden of Eden , where, after centuries of abandonment now (we are in 3035) lives a group of unknown people. Click the "game" between them and the public, the first visitors for decades, of that imaginative reality in a silence broken only by the rustling of leaves, the lapping of the water and by the notes of the beautiful music by Rutger Zuydervelt. The dancers are an unobtrusive 'one with nature: the trees where climbing with delicate and harmonious gestures, almost fosserro flying birds, agile predators, where the water dance and naked plunge into a crescendo of movements. They seem to fear intruders who observe them, slowly advancing on a catwalk that hosts them, staring in disbelief and scared then run on the grass and disappear. The public rooms in the bubbles and waits ... staring at a long grassy staircase barred by a large glass door. They follow from the dancers embraced in a mass of bodies that hover arms and legs in an attempt to want to flee to the unknown. Roll, climb the walls of a wall, superb, mysterious silohuettes that captivate and astonish and wrap them strong jets of water, almost a prelude and memory to flood. Astonished in front of the windows that divide them from the public, they flee again to return to the garden waters not finding the hoped-for freedom to which they were accustomed. It is them that back in "bubbles", spaceships suspended on steel tubes, where, in backlight, you can admire an exasperated gesture, shadows that glide on the green glass walls and finally find peace. A sort of return to the womb, a wandering in her amniotic fluid. Superb performance of the whole company: Christopher Tandy, Inés Belda Nacher, Kim-Jomi Fisher and Jefta Tanate. Iván Pérez has given the choreography a strong physique and high-impact emotional depth with a poetic style and, at the same time, sensual, touching with magical alchemy of the soul of the viewer. It is known throughout the world, appointed by choreographer associated ZfinMalta Dance Ensemble for the 2016-2018 period and honored with numerous international awards, from 2011 began to develop his mark choreographed by choosing to tackle a research on the potential of the body that redefines itself through the movement and the infinite possibilities of interaction with the surrounding environment. Enthusiastic, prolonged applause crowned the success of extraordinary evening, replicated in the next two days.
By Maria Luisa Runti