TOCCARE_the white dance

TOCCARE_the white dance is crossed by a very precise research theme: TOUCHING – the gesture of touching and not a contact technique – a detached touching, as the simple intimacy of a radical open feeling. This record of the touch is to be considered in the sphere of a thought in which the singular-plural of a being is the prominent line of the existence: the infinite exposition of a subject into the world.

Which is the spirituality in the materiality?

Touching always entails the affirmation of an alterity: to touch the other means to touch all the possible others, including oneself, including the insensible in the sensible; it means to rethink radically the nature of being and time.

What would it mean to recognize that our responsibility extend towards the insensible as much as the sensible, and that we are always already open to the other within the internal as much as the external ?
How can we become in contact with an ethic which is active towards the virtual ?

The reactivation of an erotic body written off from the hyper-sexualized narcissism which builds architectures of isolation, is a political problem as much as a therapeutic problem, but is above all a common responsibility without calculus we all share with human and non human objects, it’s an aesthetic dimension and so a philosophical one putting us in contact with the fullness of nothingness at the core of matter and with the sensual qualities of a world that is not anymore Mondo, for an ecology without return. The creation will develop in synergy with the rewriting of the harpsichord pieces by J.P. Rameau by the Italian composer Ruggero Laganà: a ‘chamber dance’ which exposes a choreographic technology made of analytic precision and baroque counterpoint, in a pure abandonment of the self.

From the very beginning, the fruition of the piece has been projected with a dynamic, modular, open dimension, considering the spacial articulations of the dance as different modes of experiences: from Classical Theaters all’Italiana to more contemporary Studio Theaters, from Museums to White Boxes, from a plain air forest to a garden or a terrace. Imagining to open up the research to different modalities and inclusive fruitions, including the audio transcription for blind persons.

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