Esiste una nuova danza italiana? Incasellare in questa formula le esperienze sperimentali dei giovani danzatori nostrani è forse operazione avventata. Gli esempi proposti non giustificano l’esistenza riconoscibile di una tendenza, di un filone, di un modo accomunante di affrontare – manipolare, riflettere o filtrare – le strutture, i codici della danza. Si parla, per esempio, di “new dance” americana , di “nouvelle danse” francese. Formulazioni discutibile anch’esse certo, e più che altro strumentali, di comodo. Ma che dispongono di una certa vaga riconoscibilità.
In Rovereto, Enzo Cosimi is presenting Vicinissimi alle tracce, a duet alongside Tere O'Connor, an American dancer with whom he often collaborates. The New Yorker O'Connor (whom Rovereto presented for the first time in Italy, in the ‘83 edition of the Festival) belongs in full to the “post-Twyla Tharp” generation of the new East Coast dance: fluid, elastic, musical, fundamentally technical movement that plays on a great desire for the “unexpected” in the development of sequences. Tere's personality harnesses technique with a hint of ‘lyricism’, which serves as a contrast (and complement) to Cosimi's turbulent, fiery personality. The piece they are presenting at Rovereto ‘85 was created to music by Diane Martel, Pierluigi Castellano and David Vantieghem, and presupposes, Cosimi says, a “music-dance relationship based on absolute dependence between the two elements”.
This is how Tere and Enzo present their creation: ‘Usually one hears of cases in which traces are deliberately dispersed, not in this case, in which traces are pursued that are an important clue, which will lead us to the intention of constructing a language of dance theatre. Choreography is dramaturgical fabric and is grafted with image, costume, music. Very close to the traces are the defined and independent works of Enzo and Tere, which in this case have been condensed together, creating seriously playful atmospheres and subtle plots of relationship between the two.
