Revived with both former and new performers, Sorry, do the tour. Again!  reconnects with the adolescent loves of Marco Berrettini by staging a disco dance marathon, a glamorous meditation about the passing of time  while effecting a return to the source of his vocabulary. The cross  between a popular dance form and more institutional choreographic vocabulary here produces an effect tending towards self-derision. On a dance floor plunged into an acidic pink light, the ten performers, all  bearing numbers, defend their places in the contest to the sound of  Donna Summer, Sylvester or the Jackson Five, while mimicking the gestures of their icons. The utterly joyful activation of this collective memory is made as a counterpoint to the exposure of the  backstage around the dance floor, revealing the technical, routine labour behind the holding of a show. Freely inspired from John Cassavetes’ film Opening Night and Peter Sloterdijk’s essay Rules for the Human Zoo,  the piece conveys a critique which is as institutional as it is  societal, mocking the narcissism and competitiveness of the time. The  title also regrets the condition of those individuals who are forced to  dance, here reduced to the simple rank of consumption objects.

Source: program of the CND

An Italian dancer and choreographer born in Germany, Marco Berrettini’s interest in dance began after a victory at the German disco dancing championships. Trained at the London School of Contemporary Dance, he then graduated from the Essen Folkwangschulen, under the direction of Hans Züllig and Pina Bausch. While there, he developed his interest in Tanztheater and began his career as a choreographer with a solo, Le Père Noël lubrique. In 1988, he entered into a collaboration with the Marseille choreographer Georges Appaix, before creating some fifteen shows with his company, including No Paraderan that was performed for the first time in 2004 at the Théâtre de la Ville, Paris.

Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).