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HOLYANDPROFANELOVEPlayingbetweenBharataNatyamandFlamenco

HOLYANDPROFANELOVE

PlayingbetweenBharataNatyamandFlamencoThe equivalence between time and space is an old topos of theEuropeantheatricaltradition.Mentioningthetravelitseemsobvioustothinkofspace.Yetafartherthoughtmaysuggestthatthemeaningofsometravelsliesintheprofundityoftimeratherthaninthevastityof space. From this double category stems the performance calledHoly and profane love - playing between Bharata Natyam andFlamenco.The work starts with a number of dances from the South Indianclassical repertoire, known as Bharata Natyam. This is the mostrenowned of the classical women’s Indian dances. Its very name(Natyam = theatre, Bharata = India) suggests that this is classicaltheatreparexcellence.As ithasoftenhappened toAsian traditionsunderWesterncolonialrule,thisancientformofstageculturehasriskedtotalextinction.Theemulationof theBritishcolonisersbythe Indianhigherclasseshadproscribedthis formofart toclandestinityorworse todisinterest,onaccountof itspresumedprimitivenessandobscenity. In fact,this is a sophisticated artistic experience of an highmystical level based on the samemetaphors oferotic relationshipwe can find inmuch spiritual literature, startingwith the Song of Songs from theBible.To this first part of the performance a second one is connected, which isdedicated to Flamenco. Naturally, this is not a bizarre or extravagant tripbetween India and Andalusia. Under the apparent distance, the aggressiveeroticismofthebailaoraswiththefoldoftheirgownbetweentheirfingersisbound by way of secular sedimentation or romantic transmutation to thesacredworldoftheDevadasi,thewomenpriestsofIndiantemples.Asignofthisisthegenerallanguageofthebody,andespeciallythetechniqueofthesocalledzapateado,i.e.thetip-heelstepwhichbringstoSpain–throughthelongGypsies’travel–theessentialgrammarofIndianclassictheatre-dance.Theanalogyofformsbindsthesavouroflongforgottenworld:thedevotionofaprayerthatbecomesdance,thesenseofhonouranddevotionthataregiven to, and at the same time take shape from, the Andalusian Gypsyguitars.

PRESSREVIEW«[...]itcapturedtheaudience’sbreathbydraggingthem[...]inaspaceoutoftimeandtheyreturntopresentonlyafterfewminutesofthelongapplaudthatwasgreetingtheartists»ILGIORNO«[...] it fasten to the chairs twohundred spectators till late night. Intelligent things are not alwaysboring»CORRIEREDELLEALPI«[...]TeatrotascabilediBergamo’sartistsareabletoenchantalsowithintimateeventsofdance-theatre[…]chargedwithsuggestion,colours,sensualityandabletoamaze,toleaveopen-mouthedeverykindofaudiencewithnodifferenceofage.»ILGAZZETTINO