Jaskaran Anand and Daria Greco in Sport. Photo © Carolina Farina

REVIEW

Salvo Lombardo/Chiasma: Sport

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Jaskaran Anand and Daria Greco in Sport. Photo © Carolina Farina
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Contact, combat and continuity in a ‘remediation’ of 19th-century spectacle

‘Resting before the game, or defeated afterwards?’ The question comes to mind as we watch four performers lying on the floor while we take our seats for Salvo Lombardo/Chiasma’s Sport, the last part of a trilogy aiming to ‘re-mediate’ three works by 19th-century Italian choreographer Luigi Manzotti through the lens of postcolonialism. Taking a critical distance from Manzotti’s work, Lombardo’s choreographic research manifests with simplicity, commitment and honesty, reflecting our fractured contemporaneity.

Sitting up close along the long sides of a white runway, we witness the gradual evolution of an iconic Greek-Roman wrestling move: all the possible and ambiguous shades from tenderness to violence, from an intimate hug to conflict. This single move is repeated again and again in an almost ‘Bauschian’ way, so that each repetition brings a new variation, even subtle, towards escalation. Every iteration re-invents the movement and the relation between the performers-as-athletes from attraction to opposition: adjusting the timing, creating a vibrating stillness, and exploring the dynamics of touch, grasp and attack give a different nuance to the ultimate goal – the fall of the rival’s body.

In her corporeal research on contact improvisation (which in its early stages looked like wrestling), Nancy Stark Smith suggests that falling before reaching the ground operates inside a Gap, a suspended void that opens onto unknown orientations. Here, the falling and landing are raw, heavy, loud and uncontrolled, awaking pain kinesthetically. Without muscular engagement to defy the pull of gravity and the desire to make a new effort, these crashed bodies could stay on the ground in abandonment and defeat. Yet they rise again to continuously return to the wrestling move, not to master their training, but to explore the performativity of the unexpected attack and the intensity of the present.

On the sound of gunshots, this abrupt dropping of bodies-as-objects to the ground makes us reflect on our own materiality, and the vanity of conflict. To the initial question – resting or defeated? – the answer comes: in violent conflict, we are all losers.

The bottom line: A physical and existential exploration of the nuances of fall questioning the futility of combat
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Rome, Italy
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www.chiasma.eu

Concept, choreography, direction (as part of the trilogy L’esemplare capovolto): Salvo Lombardo
Performers: Chiara Ameglio, Jaskaran Anand, Daria Greco, Fabritia D’Intino
Lighting design, space and technical direction: Maria Elena Fusacchia and Alessio Troya
Music: iosonouncane, Wolfgang Amadeus Mozart
Sound design: Fabrizio Alviti
Styling: Ettore Lombardi
Theory advisor: Alessandro Tollari
Training coach: Pietro Piscitelli, Federico Pucher, Andrea Sorbello, Luigi Uberti
Curation and support: Paola Granato
Organisation and coordination: Giulia Vanni
Administrator: Cesare Benedetti
Production: Chiasma
Co-production: FESTIVAL MILANoLTRE, Fattoria Vittadini
With the contribution of MIC – Ministero della Cultura e Regione Lazio
With the support of Lavanderia a Vapore, Teatro di Roma – Teatro Nazionale, Scenario Pubblico / Centro di Rilevante Interesse Nazionale per la Danza, C.L.A.P.Spettacolo dal vivo, CapoTrave / Kilowatt, Ostudio
In collaboration with Università degli Studi di Torino | Department of Humanities

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