ATACAMA PRESS REVIEWS
“I FLOAT, I DROWN, I FLOAT”
You can drown in existence. Or you can try to stay afloat amidst currents moving surfaces
ruffled with possibilities that, once followed, are worth the risk, amidst whirlpools of
precariousness to be avoided by resolute veering, amidst tides which punctually recur in order
to regulate the ups and downs of feverish mankind. A mankind that did not forgo vitality,
surprised in casual harmonies, on the edge of intentions hidden in the dark, implicit in the
smile which is knowledge mixed with the creativity of words pronounced by the body. In the
variation of arms closing on emptiness, in the evolution of legs jumping beyond the depths, in
the palpitation of breaths shaping visions. Fleeting and unexpectedly beautiful are those
that Atacama Company presents in the imaginary inventory of its choreography,
subtle for its impalpable poetry, mystic for its underlying philosophical thought,
refined for the compositional effect resulting from the combination of scenes and
the original soundtrack by Epsilon Indi, the fruit of their long-standing collaboration.
A score of electronic and experimental sonorities able to magnetize the movements
choreographed by Patrizia Cavola and Ivan Truol, and to transfer them in
combinations of moving anatomies. Within the circle of light on the stage, under the
scintillating backdrop five dancers, Valeria Baresi, Anna Basti, Ilaria Bracaglia, Cristina Meloro
and Marco Ubaldi explore the flow of opposing stimulations, of impromptu unanswered voices,
the emotion of compositions experimented and then abandoned in the search of others. “I
float, I drown, I float” is characterized by a surprising choral structure, an unachieved and
undoubtedly undefined complexity of accents which, though independent, counterpoint each
other in the overwhelming melody of that instant which is our whole life.
Valentina De Simone (29)
(30th March 2013)
How’s theatre today?
di Rodolfo di Giammarco
The frantic and unending race of an individual indifferent to life’s hindrances and to the
strangers who cross his path. He runs, runs, runs, falls down and gets up again, runs and
never stops. A ring, a circle, a round. The vanity of existence and the selfcentredness that
avoids others. The infinite and innumerable facets of human nature, which can shift from joy
to pain, from fear to astonishment, from pleasure to shame in a split second. Points of view.
Conceptual divergences. A wedding dress.These are only a few of the possible impressions, but
on the stage of Teatro Vascello on March 27th and on the two following days the Atacama
Company actually presents a choreographic research dense with meaning, dense with
meanings. The unending contradictions of contemporary humanity, floating between opposite
feelings, result in a choral improvisation of body an mind, in an Exchange between dancers
and choreographers. A poetic and visionary result which combines movement and a
speculation on the words and gestures of the dancer-actors populating the stage with their
own bodies and minds. The project could not have taken place without the successful
collaboration with the composer Sergio de Vito, who created the original music in a crescendo
of dissonance, and with Danila Blasi who designed the minimal but highly effective lighting. On
stage the dancers Valeria Baresi, Anna Basti, Ilaria Bracaglia, Cristina Meloro and Marco
Ubaldi, with an evident theatrical experience, embody the facets of interiority with a clear and
tangible
performance.
Ludovica Mattioli
29th March 2013, in Reviews, Theatre
A sequence of three moments, three movements in which stillness represents meditative
thought, and frantic motion the joy of existence. All takes place within a virtual swimming-pool
edged by kaleidoscopic lights: a perfect circle that recalls life, the perpetual flow of feelings
and gestures. In this space five weird characters (Valeria Baresi, Anna Basti, Ilaria Bracaglia,
Cristina Meloro, Marco Ubaldi) meet and clash, each of them occupied by his/her own flaws
and weaknesses; they are human archetypes who can be scared as well as amazed.
The choreography shows us the poetry of life in its most physical form, made of leaps and
falls, sudden changes and irresolvable contradictions. At its first performance on the 27th of
March at Teatro Vascello, Patrizia Cavola and Ivan Truol – creators, choreographers and
directors – won their wager, since they succeeded in the hard task of revealing the feelings
that we often unknowingly keep submerged.
RECENSENDUM
CINEMA & TEATRO: IL VERBO DI SWIMMY
Published: 29 March 2013 in teatro
"I float, I drown, I float " sets Italian contemporary dance free out of the darkness
Atacama Company deals with a life’s events: its representations match with the diverse
expressions of dance theatre.
Floating on the whirl of suspended energies which return and hurt. Moving unsteadily along
trajectories, directions, goals whose culmination is their interruption: a contact upsets the
situation, reverse reality and takes us in a more intimate and psychological consideration. It is
like drowning in a pile of layers that reveal themselves: the sound attracts the dancers who
use up their own reason by deconstructing movements, splitting and fragmenting, stripping
them in such an analytical way. This examination fades with the arising spontaneity of
expressions embodied by mimic gestures, surprising vocal motions and a definitely carnival
and circus style: this arising effect is hectic and eccentric. And we float once again. “I float, I
drown, I float” by Atacama Company presents on stage a circular dialogue which go through
life phases as episodes: a complex and wide subject that the choreographers Patrizia Cavola
and Ivan Truol turn to action, trying to understand the matter through its display and never
claiming to state a truth.
Atacama Company works on creating a field of research that may include the multidimensional
possibilities of expression: dance theatre is here given the chance of overcoming its borders,
thanks the collaboration with quite different dancers, each of them endowed with a remarkable
expressive talent. Valeria Baresi, Anna Basti, Ilaria Bracaglia, Cristina Meloro and Marco Ubaldi
show on stage their clear characterization which defines their role within the piece, and this
reveals their considerable training as well as the directors’ work.
This is a work that reminds us how fruitful and persevering this dance research can be,
because we must admit that contemporary dance is damaged by the cuts to the culture sector
more than other artistic fields: being reduced to a additional branch of theatre, secondary and
dependent from its traditional and academic forms, contemporary dance and dance research
are still mostly unconsidered; still, it keeps unsteadily developing and working underground,
trying to provide a ground to that future which may hopefully give it the deserved
independence. At Teatro Vascello Atacama Company allows us to be enthusiastic: will the
Institutions realize that probably Romantic Ballet can give way to a form of dance which is
really related to our times, which is dense, material and critical?
Anna Pozzali
Friday 26th April 2013
10 04 2013 (Teatro / Visti da noi)
The scene, bordered by an evocative circle of kaleidoscopic lights, was animated for almost an
hour by living pictures that show moments of human weakness, moments of exhibitionism,
relationships, physical contacts, confrontations. In the absence of a logical narrative
development, the dancers expressed diverse nuances of human beings in an authentic way,
without trying to hide the spiritual flaws and the body’s desires. In most cases laughter was
the predominant emotion, the hinge that link the performers’ body and soul. Irony and selfirony contribute to overcoming the limits of body and soul, as well-known by Patrizia
Cavola and Ivan Truol, who directed the choreography drawing the movement out of what
the text evokes. The performers’ actions and reactions were meticulous and empathic, and the
ideas and solutions of some confrontations were original and authentic. In the unison moments
the dance was perfect. The stage contained so much material, both virtual and real. The five
performers floated and drowned in several kinds of immersion, all alternated in an organic
way. The performance was accompanied by the original music by the composer Sergio de
Vito. This music guided the scene and interacted with the dancers. The lighting designed
by Danila Blasi deserves a special mention, since it managed to create the right atmosphere
and to highlight details and impressions.
by Valeria Loprieno
TEATRI DI CARTAPESTA
1st April 2013
Revealing the contradictions of human nature, making visible what the soul can only imagine,
giving rise through dance to a physical poetry able to penetrate the Collective Unconscious:
apparently these are the main targets of "I FLOAT, I DROWN, I FLOAT", the latest work by
Atacama Company, in Rome at Teatro Vascello until the 29th of March.
The piece shows mankind floating, drowning and floating again in its everyday existence,
especially marked by our absurd tendency to run, to hurry, to the imminent enjoyment of
things: in other words, to movement.
Friday, 29th March 2013
Chiara Cacciotti
Strings of tiny white lights hang on the backdrop while on the stage small coloured lights form
a ring, suggesting circular movements. The perception of space becomes limitless.
Words enter unexpectedly and their task is to make explicit simultaneously two different ways
of seeing things, of perceiving nature and life, the solution of which is probably the union
implicit in the pure love relationship.
The dancers let their bodies go, drowning and coming to the surface again. Fundamental
elements are cabaret, humour, laughter, which are considered by Jodorowsky necessary to
exorcize our deepest fears. I float, I drown, I float is a circle that opens with a quest and
probably closes with a young bride’s rite of initiation.
At the end of the performance – which combines the elaboration of a dance giving rise to a
physical poetry with the pictorial and visionary construction of images – spectators, as
individuals in the widest sense, probably will stop floating, drowning, floating and will succeed
in realizing a form of communication which allows them to reach a higher level of peace and
consciousness.
Alessia Fortuna
Giovedi', 23rd May 2013
Atacama’s dance gives rise to a physical, pictorial and visionary poetry, with strong
interactions of sound.
Rodolfo Di Giammarco
Variations of arms, evolutions of legs, palpitation of breaths, subtle research of images and
physical poetry: this is the flow of I float, I drown, I float ….Visions beyond any narrative
purpose, with the experimental electronic scores of Epsilon Indi.
Rodolfo Di Giammarco
ESPOSTA (“Exposed”)
Obstinate and irregular rhythms, desire and a tendency to fragmentation. In the era
of technology Esposta appears as an invitation to reconciliation with one's body.
Thoughts are exposed, the face is exposed, memory is exposed. This creation by
Atacama company founded in 1997 by Patrizia Cavola and Ivan Truol, guides the
audience into listening to the imaginary presented by the expressive force of the
choreographic language which inspires awe and a capitulation to love. The company
takes inspiration from a multi-poliyedric language research that integrates with the
body's different forms of expression, from dance to the theatre of words, condensing
it into a single language.
Language not only as identity of a process of communication, but as a vehicle for the
manifestation of a shared and recountable experience.
The three women who connect through the dance are open to the representation of
their humours, confederates like the witches on Shakespeare's heath, complementary
as the cycles of passage marvellously represented by Gustav Klimt in The Three Ages
of Woman, witnessing what has been, what is in the immediate present, and what
possibly may be in the future. Their fragility and their strength are equal in the act of
exposing themselves to the world and becoming visible to the other's body, to offer
themselves in an exchange to a play of transformations. There is something
marvellous, moving and special in being ready to reveal oneself without protections,
barriers, masks, in that state of fragility that because of this acquires an unequalled
strength.
“Esposta” was shown in the Quarticciolo Theatre in Rome, as winner of the
competition for territorial associations of the VII Municipality, for the quality of the
research and the topicality of the subject in the feminine context...
The fear of an incommunicable disquiet makes it possible for Ilaria Bracaglia, Sara
Simeoni and Cristina Failla to understand each other so as to communicate and be
reconciled to their emotions through a disguise that never ceases to make our deepest
fears reverberate, born as they are from a necessary individual sacrifice.
ANTONELLA CAIONE
art a part of cult(ure)
19 March 2011
A performance on the courage and the determination of a woman... an exploration
into the possibilities of expression of a “female heroic body”, naked in its exposition,
skinless and defenceless, in a mixture of poetry of movement and visionary pictorial
elements.
ROMAC’È
26 January 2011
We are always saying it: “I exposed myself” “Don't expose yourself” “That person has
undergone excessive exposure...” sometimes adding the adjective mediatic. The verb
“to expose” has recently undergone a kind of genetic mutation and from the relatively
simple meaning of “putting out, putting on show/in the window”, generally referred to
objects, it now expresses a variety of meanings, psychological situations and feelings,
invariably referring to us, human beings. The new creation of choreographer Patrizia
Cavola for Atacama company (which she founded and directs with her colleague and
partner Ivan Truol) revolves around this meaning of the expression “exposed”, worked
out in feminine key... But the subject is also the hero, and his being “exposed,
defenceless, skinless”. So the themes are also “strength and fragiilty, courage and
fear”.
DONATELLA BERTOZZI
IL MESSAGGERO
1 February 2011
L’AMBITO (“Confines”)
“L’ambito”, a performance set up by Atacama company and played at the Concordia
theatre on 15th September, is a work full of ideas and suggestions, an inlay of dance
and music, showing the great ability of the two dance-actors Patrizia Cavola and Ivan
Truol. It was the fourth engagement of the fifteenth national meeting “Teatri Invisibili”
(Invisible theatres).
The Concordia Theatre public was able to enjoy the formal work and appreciate the
“social” implications of the action, particularly the theme of the life of the individual in
the contemporary world, boxed in confines like the cells of a honeycomb, between
work, urban areas, restricted times and spaces. The communicative force of the dance
movements of the two characters on the scene and the attention to detail in this
minimal show are very effective, and so, especially, is the original music by Epsilon
Indi, and the text by Oscar Stuardo (translated by Cavola and Truol).
The curtain rises on two actors at the opposite ends of the stage, one bathed in cold
light, the other in warm light. The costumes are black with white stripes, so they
seem to recall the tarmac, the roads of any town, consequently the traffic, the daily
disorder. The two actors are well contained in their respective “confines”, but they will
slowly learn to move and communicate, at last attaining the merging of their two
living areas, through dance exchanges that suggest a dialogue based not any more on
words, but on pushing, pulling, the impenetrability of the bodies, rolling, adhering,
nearness, distances.
Once they have acquired the balance word/dance, the two go on to “face” the
appearance of the “other”, in the form of faces projected on the backdrop, whose
expressions can be neutral, smiling or frowning. Faces that will not disappear, as the
two actors would wish, but will multiply, re-absorbing the two characters in a
dimension of social anonymity, that same dimension that the initial “confines” kept
out, at a safety distance, more aseptic than personal.
Dance-theatre, physical theatre, Beckett: many points of reference for a performance
that could be parallel to various other recent and less recent theatrical experiences,
and offers itself to the audience with the fluid gestures of Cavola and Truol, their
movements, a well calibrated soundtrack and the minimalism of a simple narrative
scheme, from the self to others, breaking out of the claustrophobia of “confines” that
are not authenticity but a prison.
GIOVANNI DESIDERI
:ILIBIS.
ilibis.blogspot.com
16 September 2009
Two dancers (only nominally a He and a She) immersed in an indistinct scenic space,
with no physical barriers and unexplored, neutral like the sex of the occupants who,
searching for the individual confines coherent with the laws of cognitive proxemics,
permits them to appropriate or to refuse the other's presence. From the very
beginning of the pièce we witness the acquisition of the scenic space, with Him an
imaginary puppet rising vertically, a novel man of Vitruvius, and Her writhing
horizontally, subtly underlining the physical differences between man and woman. The
Atacama company, founded in 1997 by Patrizia Cavola, Italian choreographer and
dancer, and Ivan Truol, Chilean choreographer, dancer and actor, aims to be a space
for study, research, experimentation and a laboratory for the creation of a Physical
theatre emphasising the basic relation between movement, dance and vocal
expression in the form of poetry or song. “L'Ambito” is a project that demonstrates
their research of a new theatrical dimension, in an era in which definitions are
overstepped in favour of new hybrid forms of art turning the audience toward personal
participation and a state of emotional overwhelming. With the background of a music
alternating noir crescendos and electronic standstills, the distance from the other is
bridged, at first shyly, for her the sense of smell, for him the sense of touch, sight for
both (original and expressive is the “taking possession” of the other's movements
from a distance), then more and more urgent, in the moment in which the individual
confines, now shared with another other than oneself, need to be protected from the
curiosity and attacks of the outside world. The text of the Chilean playwright Oscar
Stuardo is presented as a pre-text or a prop to the performance, a meditation from
which to start to dis-articulate the performance entrusted to the quality of the actors'
interpretation. The audience is swept into the state of anxiety and distress
overwhelming the two characters Jam and Jem, two abstract beings, without history
or sex, only the emotions and fears pervading them, generating a constant
equilibrium between power and elasticity, that the two actors on the scene
communicate perfectly, still manifestly showing the character differences between
man and woman (“You always dare”; “Yes, but you advance more”), but distributing
equally the dynamic surge, so that the twining of bodies, the acrobatic catches, the
plastic stances, are fundamentally filled with a sense of harmony. In the dialogues,
the gestures, the audience looks for a sense that delves in the deep of their
unconscious, and the confine becomes a place each one is called upon to preserve
and defend in a solitude that is sought for in the same measure as it is rejected. We
find a psychological suspension and fall, in the discovery of a relation between the two
characters, between father and son, between man and woman, between two friends.
The relation of a body that voluntarily (and desperately) interacts with another.
ANNAMARIA POMPILI E DAVIDE BUONASORTE
www.teatroteatro.it
1 December 2007
CAOS
(THE CHAOS)
Surrounding us comes from bewilderment. it starts in the cosmos; its vision is initially
universal, characterized by loud and pervasive music. The characters (...) create
figures emitting power and fire, through the constant contact of their bodies.
Sometimes they talk, or urge in grotesque or parodic scenes. The clothes they wear
could make them look like warriors in the most aggressive scenes. Sometimes they
appear to be reduced to their essence, and seem to live in an unknown
world, (...) they are light, they barely have weight. Primordial chaos, as present chaos
is lived moving, shouting, whispering. All the characters are a small part of the
universe which devours them, but they don't want to succumb. The splendid
soundtrack is in charge of already tested collaborators: Epsilon Indi. The light plan
made by Danila Blasi who is a collaborator of Atacama Company too, has enhanced
the essential but suggestive stage designing. The costumes designed by Giovanna
Lombardo are original and well fitting to characters who live a constant
transformation.
JOLANDA DOLCE
Jolandadolce.it
ISTRUZIONI PER RENDERSI INFELICI
(INSTRUCTIONS TO MAKE OURSELVES UNHAPPY)
This subject for discussion was translated in the terms of Dance Theatre by the
company Atacama, whose main are components Patrizia Cavola and Ivàn Truol. They
created a pièce for four Dancers-actors. The definition is very congenial to the light
and ironical approach with wich the four performers present the show, There is a
perfect balance between performance and dance. They are a coherent and funny
group able to render the psychoanalytical path of Watzlawick with depth and irony. So
we can see two neurotic women attracting and rejecting their obedient partners as if
they were dogs constantly fearful of humor of their women. Or we are witnessing a
Monologue-Dialogue between women where words are only verses (those of Rozenn
Corbell taken by French Language) a sort of grammellot that allows both Dancersactors to communicate between themselves and with the public. The result is very
interesting and it shows a scared and vulnerable man vexed by a neurotic and instable
woman. It is wonderful to see women leading men or men leading other men in a
choreographic search where the difference in height or weight does not influence the
capacity of each of leading (in a choreographic sense). There is a recherce of pure
dance which focuses on the movement and the relationship between bodies. It’s a
show to be seen more and more times not only to have fun but also to reflect on
certain attitudes of human behavior. “Instructions to make ourselves unhappy” was
created in 2004 that has already become a classical in contemporary dance. The
public always approves and applauds forcing performers to repeated exits.
ALESSANDRO PAESANO
TEATRO.ORG
April, 2009
The dancers-actors will show us, with their suggestive dances, gloomy music and
grotesque figures, created with their bodies, all the monstrosities of obsessive love
and selfishness. And every single detail will serve to render this message of
unhappiness: the stage is very dark, rarely illuminated by spotlights that create
horizontal or vertical lines, where the dancers walk or run dressed in their yellow and
black clothes that catch the eye of the public. Everything seems to converge in
illogical and terrible circumstances, where real situations are always brought to
exasperation. Our problems and disorders are blown up out of proportions, but this is
the mirror of our frustrations; and looking at the dancers we understand the core of
our sadness. The four actors-dancers manage to get to us all the unease of wrong
relationships only with their dancing, their slow movements, as if they were a deja-vù.
Few words said by a voice outside reminds us that the man is capable of destroying
himself. Also the words the dancers pronounce are very touching, they remind us
that we are very keen to make life hard and complicated.
CLAUDIA ROSA
CULTURALAZIO.IT
April 29 2009
In the frame of what remains the most important of the Theatres of search of Rome,
on 28, 29 and 30 April, the company Atacama, directed by Patrizia Cavola and Ivàn
Truol, has performed its production “Instructions to make ourselves unhappy”, which
won the prize “theatre of the city of Aversa 2007”. A world where shape is always to
be shaped, where touch arouses dismay. There is always a pretext for complicating
life, or breaking the boredom of simplicity. It’s the drama of the inevitable relationship
with the other. Suspicion, mistrust, refusal are words that could be engraved on the
seabed, but there is no word unless it is empty, sterile, stylized, symbolic, unless the
fictitious need of inability to communicate among those figures is satisfied. The
sensual strictness of costumes merges with the surreal image of an interiority without
time. The languages are many, all soaked with an irony that exorcises the frightening
human reality. All we can see is nothing but the truth, even if this is shown by
shadows and not by human beings.
GIANPAOLO MARCUCCI
CORRIEREdiROMA.IT
April 2009
Brilliant, especially for connoisseurs. The theatre Fara Nume never misses events at
the limit, whose main characteristic is elegant and cunning humour. This has always
been a mark of the cultural structure of Via Baffigo. “Instructions to make ourselves
unhappy” is a text that grabs smiles and consensus from the public, but above all
highlights how we can show our art by seizing laughters and by saying things that
make sense.
GIAN MARCO VENTURI
IL GIORNALE DI OSTIA
11-12 may 2008
“Creation’s work is strictly linked to the elaboration of a personal choreographic code,
dance’s style and expressive poetic. All art-therapy’s codes: vocal expression, text or
singing, music and every artistic form useful during the creation…This particular
interest for the human and the attention to aspects as
contacts, relations,
authenticity, consciousness…call back some fundamental passages of a therapeutic
artistic way…Atacama Company’s performances are lightening by emotions’ flow,
conquer the audience with intense emotional prompting, but there is also an
extraordinary physical control, dynamism, acting’s command and ability”.
ROBERTA PAPPADA’
ARTI TERAPIE
“The choreography created and directed by first dancers Patrizia Cavola and Ivan
Truol is between dance and theatre, strange place of artistic expression where
movement, vocal expression, music and others expressive forms made during the
creation interact each other. As the previous performances: Dal Sud, Sguardo rubato,
La Cama, performed in the most important international festival of dance, Istruzioni
per rendersi infelici too, continue the way of the provocative theatre of doing, that
request to its main characters a big scenic presence and a big physical power. Two
features found in Atacama Company’s dna, that elevates the dance to become a pure
expression of being”.
ALESSANDRA MICCINESI
IL GIORNALE
“A bit Charlot, a bit Keaton, a bit Clodette Colbert, a bit the flying bride of Chagall,
men and women, characters of Istruzioni per rendersi infelicibustle about their lives
on an empty stage, dark, noisy as the world is. Dressed with black and yellow stripes
as the crash test dummies, the four dancers of Atacama (…) have human faces, too
human. Rule and obey, made couple and fight, interacting in a mechanic way, so, with
a comic effect, showing as in daily gestures and emotions is possible to be sure to
become unhappy…
About choreography, the acrobatics is made normal and inserted in daily gestures.
The most original effect, interesting for the reflections that creates about human life,
is the insertion between bodies looking for unattainable pleasures in a fluid, fast, not
painful and surely effectively unhappy tetris.
As (...) a Keaton, the characters of Istruzioni doesn’t fight a bad world but fight
miserly against the shades exploded on the stage, metaphor of their minds”.
VERONICA FLORA
CINEMA AVVENIRE.IT
“I suggest going to see Atacama Company’s theatrical dance performance that, with
Patrizia Cavola and Ivàn Truol’ s direction, clearly and hilariously represents an
humanity that keeps itself to be unhappy. The message, arriving to people of all ages,
is clear and direct: “Be unhappy!!”.
KATIA
CARLINI
PSICOLOGIA IN MOVIMENTO
LA CAMA
(THE BED)
"Facing the theme, the two artists face the problems of a systematical study of the
movement, of the dynamic, of the impulses, therefore of the modern dance. And they
are able to achieve their object.
Patrizia Cavola is a type, a character, with her sharp, triangular face, she is a dancer
of character who doesn't hesitate to mortify her body, unusual case among us, to
broke or tangle the lines to express an embarrassment, a torment. Ivàn Truol is a
sure fiber of actor, with his dazzling and bewildered face, he moves very well using
mime's drolleries. It's unusual too. That an actor could "do"...For all this particular
things we feel up to mark out Atacama as a direction of rigorous and serious
performance. If the opportunity should occur: go to look at it, rejecting the
confusion, the unintelligibility, the superficiality that surround and oppress us from all
directions, apart the exception, but it's our duty, as you can see, to give notice of
them".
ALBERTO TESTA
TUTTODANZA and LA REPUBBLICA
“La Cama, with Patrizia Cavola and Ivàn Truol, the clever dancers who are author of
it too, expresses dynamics and feelings urged by the relation that is created between
the bed, scenographic object on which is based this work, and who occupies it.”
MARIA CRISTINA BUTTA’
ITALIA SERA
“In dance's field, the presence of Italians Atacama stands out.”
EL PERIODICO
TEATRE BCN
tot el Teatre que es fa a Barcelona
“An original, pleasant choreography that captured the audience thanks to the
successful connection between dance and theatre. Then, good the interpreter: Patrizia
Cavola and Ivàn Truol, also author of choreography and direction”.
LUCIA BURELLO
MESSAGGERO VENETO
“Patrizia Cavola and Ivàn Truol gave “body”, meaning of a very physical and theatrical
dance, to this characteristic of the bed, like original place of being. With the right
irony and a veil of good compassion “La Cama” reveals tic, squalor, embarrassment
and frenzies of the intimacy of the bed and, so , of all of us”.
FEDERICA SASSARA
IL GAZZETTINO
“It will be interesting to dip in Atacama’s Company psychedelic atmosphere. The two
choreographer, Patrizia Cavola and Ivàn Truol, both of them with a very high level and
important experience, with “Dal Sud o intorno all’11 settembre 1973” continue the
musical collaboration with Epsilon Indi, yet appreciated in other performances like the
last one “La Cama”: investigation of relations in a bed. With this work is evident the
work on the movement that become symbol, typical of the two dancers, attentive to
the details and able to move from irony to drama, giving the most profound sense of
things”.
SABRINA LA STELLA
ITALIA SERA
Speciale danza
“In the tale danced in and around a bed by Patrizia Cavola and Ivàn Truol of Atacama
Company, there are worries and irony of human beings. It’s “la cama”, “Nuova Danza”
Asmed festival’s second appointment, fascinating proof of theatre-dance, full of
emotional suggestions, created by gesture, music, world and images”.
ROBERTA SANNA
LA NUOVA SARDEGNA
“A bed. That’s all Patrizia Cavola and Ivàn Truol from Atacama Company need to draw
a dance at the boundary between wake and sleep. “La cama”…wants to confuse the
real and the dream into a game of one thing on the top of the another, revealed as
the performance goes on”.
MONICA PEROZZI
L’UNIONE SARDA
DAL SUD
“Through a gesture never excessive, but always studied and attentive to create the
drama (also in the lightness that prepares to the last one) of a realistic situation,
metaphor of the politic situation of that regime, the two dancers become touching
vehicle of the impossibility to love, representative of the love like a crime……Atacama
Company is excellent to recreate all oft his on his own body that amplifies the noise of
the tragedy making it touchable in its more real expressions. Effective and touching to
show that horror. And it’s excellent to make you feel discomfort and guilty because
you had not prevented that horror that comes in the daily”.
SABRINA LA STELLA
AVANTI!
“New rhythms of heart, emotions with high physical density, thanks to “Dal Sud” by
Atacama company....The main characters are very cleaver, with particular expressive
sensibility's passages of dance theatre and, at the end, the audience's applauses
seemed would not dry up".
VALERIA OTTOLENGHI
GAZZETTA DI PARMA
“Ivàn Truol, the actor-dancer, is a Chilean moved in Italy. He lives the story with the
same emotional intensity probably felt by his people, adding a fully Latin feeling,
filtered by an excellent technique.
Patrizia Cavola had simply amazed us for her mastery and acting ability in a not easy
text (about intensity) and in a dance strongly conditioned by dramatic force”.
MASSIMO CONSORTI
CORRIERE DI ASCOLI
“Dal Sud was the title of the exciting first appearance performance of the review,
yesterday presented with success by Patrizia Cavola and Ivàn Truol's Atacama
company. Their first production is a love story told through words and gestures, with
an excellent technique and a particular expressive sensibility”.
CLAUDIA ALLASIA
LA REPUBBLICA
“Still irony for the pro-bauschian and on the whole effective Dal Sud”.
LUANA BOMBARDI
IL RESTO DEL CARLINO
“It looks like right to mark out a good dancer Patrizia Cavola of Atacama company”.
ENRICO GATTA
LA NAZIONE
“We had the possibility to look at the great staging talent of our countryman Ivàn
Truol, dancer and actor who delighted us with the performance Dal Sud. Directed and
choreographed by himself and by his stage mate Patrizia Cavola, they had rapidly
conquered the audience with dynamism, expressive strength and body control. To
have him here is a luxury”.
JAIME CHOMALI
BOLETIN “REGION XIV”
Publicaciòn de la Embajada de
Chile en Italia
“A performance inspired to the tragic events that, exactly thirty years ago, caused the
forced expulsion from Chile of the legitimate govern of Salvador Allende and the
military dictatorship of the general Augusto Pinochet. Not easy themes that the
authors - dancers Patrizia Cavola and Ivàn Truol, founders and directors of “Atacama”
Company, face entrusting, most of all, to the evocative power of gesture and
movements”.
DONATELLA BERTOZZI
IL MESSAGGERO
SGUARDO RUBATO
“A dynamic dance, that devours the space, with a strong and incisive signal, that
unbridles itself in the little time that remains, for the Atacama company from Rome”.
FEDERICA FURLANIS
ALLA RIBALTA
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