John continues working on the building of a dramaturgy made up of signs that are steadily places, whose sense transforms and becomes continuously clear, through the interweaving of threads that unite them. The meaning of these cues – actions of everyday life, small pieces of dance, words, and costumes – become more and more clear, to converge in a final scene that unites them like pieces of a puzzle. The cues, the means of their management by the interpreters, and the final scene all propose reflections on human nature and our ways of life, which remain open to the interpretation of every one of the spectators.
This show is a sort of a game, different every night, determined by random variables: the rotational duration of a spinning top, the time it takes for wooden birds to come down.
The four performers offer an accumulation of objects and actions, even requesting information from the spectators: all these elements gradually build a sort of absurd soap opera that reunites everyone. Here is where the choreographer starts to move away from the feminine essence of her solo pieces and of A Posto to add new ingredients. What we do recognise here is the intersection, the encounter between real life and theatrical fiction and the precise and refined structural construction; and we recognise the discussion – both real and abstract – on what is to be human, always tinged with a touch of subtle irony.
Choreographer and performer Ambra Senatore was born in Turin in 1976.
She trained with various choreographers, and moved on to work with Jean-Claude Gallotta, Giorgio Rossi, Raffaella Giordano, Georges Lavaudant (Théâtre de l’Odéon, Paris), Roberto Castello, and Antonio Tagliarini.
Since 1998, parallel to her work as a performer, she began to create performances in collaboration with other authors, for instance Reminda-remoda, Un po’io un po’tu (1999), and Silenzio (2002).
Following her doctorate in contemporary dance (2004), she taught history of dance at the University of Milan and wrote a book on italian contemporary dance (published UTET, Torino, 2007).
From 2004 to 2009, Ambra Senatore pursued choreographic research on solos which she performed: EDA-solo, Merce, Informazioni Utili, Altro piccolo progetto domestico, Maglie. It was now that her work began to be regularly broadcast in France, most notably at the Hivernales d’Avignon.
Thereafter she would create group pieces: Passo (2010), A Posto (2011) and John (2012). In 2012, she founded the EDA Company based in Besançon. In 2013, she choreographed and directed Nos amours bêtes, a show for young people based on the text by Fabrice Melquiot. Her latest creations are Aringa Rossa (2014), the solo In Piccolo (2014), and the series of performances entitled Petites Briques (2015).
Between dance, theatre, and visual art, her work explores the boundaries between fiction and reality; what belongs to the performance and what lies outside of it. Ambra Senatore works on the dynamic of danced movement, enriched by elements of theatricality and everyday actions and gestures, by exploring the construction of a dramaturgy which looks at the action and presence of the body.
Since the 1st January 2016 Ambra Senatore has been the new director of the NCCN: The National Choreographic Centre of Nantes.
Source : CCNN
Artistic direction / Conception
Ambra Senatore, Matteo Ceccarelli, Elisa Ferrari, Marc Lacourt
Production / Coproduction of the choreographic work
Production ALDES, Réseau national des CDC [Le Cuvier d'Artigues-près-Bordeaux-CDC d'Aquitaine, CDC- Les Hivernales d'Avignon, Art danse CDC Dijon Bourgogne, L'éch- ngeur - CDC Picardie, Le Pacifique / CDC- Grenoble, Danse à Lille / CDC Roubaix - Nord Pas de Calais, CDC Paris Réseau (Atelier de Paris-Carolyn Carlson, L'étoile du nord, micadanses-ADDP, studio Le Regard du Cygne-AMD XXe), CDC Toulouse/Midi- Pyrénées , CDC du Val-de-Marne, Uzès danse CDC], L’Arc Scène Nationale Le Creusot, Scène Nationale de Besançon, Château Rouge Annemasse, Torinodanza, Teatro Stabile di Torino, Armunia/Festival Inequilibrio in collaborazione con Centro il Grattacielo di Livorno , con il sostegno di Regione Toscana, Patto per il riassetto del sistema teatrale della Toscana. Merci à Caterina Basso, Tommaso Monza, Andrea Roncaglione