Deserance

Deserance once again awakens the archetype of the journey. The intimate and desperate quest to make what we think and desire fit the vulnerability of our experiences.
The bodies narrate the loneliness of uniqueness, the abandonment of one's defences through the encounter with the other, suspended and dizzying like a waltz for two, the primordial belonging of a whole when self-affirmation emerges from the magma of bodies.
The voice, through a repertoire of ancient music, leads and guides travellers like Charon in search of their personal history through which they seek the origins of a vital sigh. Singing, in its most formal expression represented by the operatic voice, is set free through dialogue with contemporary sounds that enliven and support the journey.
“Lascia ch’io pianga” by Hendel, the synthesis and climax of this journey, grants the observer a way out, the bridge across which drama and comedy meet, intertwine and allow the gaze to determine the vibrations of being.
Deserance è an incubator of states of mind collected in a word. It takes shape through the plurality of meanings it contains, a set of identities and visions that take on a specific meaning only if together.
Desire è the engine that starts from the body, visceral, in a certain sense innate. A creative urgency necessary to keep alive the feeling that justifies a life choice always on the limit with oneself.
Deserance contains within itself the wandering, absolute mistress of the Company's life. Indomitable and uncontrollable movement that has always led wayfarers and pilgrims in search of meaning, of an immanent purpose. A state of probable restlessness that renews itself, questions the profound change in one's choices and will.
And finally the resistance,that sacrificed self that finds so much space on the stage but that in everyday life is compromised and subordinated to the collective. That resistance, moreover, to external or internal events that cyclically demand confirmation and reaffirmation of choice.