Best Regards
"An overwhelming fireworks display of talent. Best Regards has everything to be a great success," an Italian critic wrote after the premiere. This performance is a danced farewell, full of anger and feelings of nostalgia, about loving to be on a stage, sweating and fierce, singing and dancing.
Julidans NEXT
Starting time 07:00 p.m.
Location Melkweg
World premiere
Bursting with energy
"Dear N, you were too much." These are the opening words of friend and colleague Wendy Houstoun's farewell letter to Nigel Charnock, one of the founders of the pioneering British dance company DV8 Physical Theater. Since the 1980s, DV8 has rocked the British dance world with performances on social and political issues. DV8 was uncompromising, radical, and their performances were bursting with energy. After Charnock left the group, he created a formidable series of solos. In this, Charnock was - exactly as Houstoun wrote - 'too much'. His performances were hyperactive explosions of song, dance, screaming, fiction, and performance. Everything in him was energy, desire, will. And despair.
-|-D'Agostin worked with Charnock in 2010. That experience changed the way he looked at dance. From then on, for D'Agostin, dance was a horizon beyond which anything is possible. Best Regards is the 'letter' D'Agostin wrote to Charnock eight years later. It is D'Agostin's way of saying: "Dear N, that's exactly what I also wanted to be: too much." Best Regards is an act of desperate nostalgia. Not for the world as it was, but for the world as D'Agostin saw it. And it is a tribute to D'Agostin's first love: a love that existed before dance became a job.
Marco D'Agostin
Dancer and choreographer Marco D'Agostin started creating his own work in 2010. He immediately attracted attention at the major European dance festivals. Recollection, memory and nostalgia are recurring themes in the Italian's work. He also dances himself, as we saw on the Julidans stage in Alessandro Sciaroni's remarkable Folk-s, a traditional Austrian Schuhplattler dance that degenerates into a battle of attrition with the audience. In his own work, too, D'Agostin plays with the relationship between performers and audience.
Credits
with Marco D’Agostin
Sound, graphics LSKA
Texts Chiara Bersani, Marco D’Agostin, Azzurra D’Agostino, Wendy Houstoun
Lights Giulia Pastore
Scenes Andrea Sanson
Scientific advice The Nigel Charnock Archive, Roberto Casarotto
Dramaturgical advice Chiara Bersani, Claudio Cirri, Wendy Houstoun, Alessandro Sciarroni
Technical advice Eleonora Diana, Luca Poncetta, Paola Villani
Movement coach Marta Ciappina
Technical care Paolo Tizianel
Translations Johanna Bishop, Damien Modolo
Care, promotion Damien Modolo
Organization, administration Eleonora Cavallo, Federica Giuliani
Production VAN
Coproduction KLAP Maison pour la danse à Marseille Rencontres chorégraphiques internationales de Seine-Saint-Denis, CCN2-Centre chorégraphique national de Grenoble, ERT - Emilia Romagna Fondazione
Supported by Points communs, Nouvelle scène nationale de Cergy-Pontoise et du Val d'Oise, Centrale Fies, Marche Teatro/inTeatro Festival, the WorkRoom (Fattoria Vittadini), Teatro Comunale di VicenzaL’arboreto – Teatro Dimora | La Corte Ospitale ::: Centro di Residenza Emilia-Romagna, ARTEFICI.ResidenzeCreativeFvg di ArtistiAssociati
You do not need a Corona toegangsbewijs for this performance
For activities and performances for small groups without a Coronatoegangsbewijs, the 1.5-metre distance must be respected. You do not need a Coronatoegangsbewijs for performances at Theater Bellevue, Melkweg Upstairs, Podium Mozaïek, Bijlmer Parktheater, Meervaart and Vondelpark Openlucht Theater.
