Tane (Höhlen)
(Holes)

dance-theatre



Anyone having anything whatsoever to do with theatrical experimentation in the 70’s or thereabouts, has had something to do with a chair. The chair and the “search for identity”: quite a watchword in those days, a sign for the recognition of an entire world and mode of expression, sensitive to the voices of Monk and Berberian...

Holes has resisted for a long time. Thanks to Mela’s capacities for transformation • this performance has been adapted on different occasions to an audience of adults or children, to traditional theatrical spaces or unusual ones, each time preserving its emotional value in the face of a language which has become more rétro with time.
with Mela Tomaselli

direction by Mara Cantoni
Music perhaps represented for her a far-away memory, something that strengthened her, filled her with life, gladdened her. (...)
Nadia, Class I C

With those gestures, with her way of doing, she gave me the inspiration of a kind of childishness in her (...) But then, it was as if she had magically woken from the past and could see that it had already past.
Fabio, Class I C

(...) When the performance had ended I felt happy, and fascinated by that woman who communicated her sensations solely by her movements, even better than we could with words.
Laura, Class II C

(...) I’d love to see another performance like it, because I really liked this one (...)
Alessandro, Class I C


Years later, I have dedicated
some workshops to dance-theatre •

A woman containing many women. A being searching for itself. Her growing restlessness, the multiplication of her voices, a need for expansion push her out of her shell towards the adventure of self-recognition.
The woman containing many women comes out into the open and encounters a few of her own “essences”, within an itinerary involving femininity and childhood, desire and memory and the imaginary. Interior islands, visited with gentleness and irony but also with irrepressible vitality, while identity keeps eluding her...

The performance’s primary language is that of the dance, a type of gestuality which on the one hand encourages improvisation and on the other follows a precise dramaturgic design. The whole is supported by a heterogeneous “soundtrack”: female voices or natural sounds evoke or are evocated, not so much as pure occasions for movement as much as internal themes within the performance.