sound direction & live electronics Luigi Ceccarelli
electric violin Diego Conti
surround diffusion 5.1
musical production Edison Studio
choreography Francesco Scavetta
Gry Kipperberg, Sissel Bjørkli,
Sittibancha Bamphen, Christine Kjellberg
light design Stefano Stacchini
costumes Birgitte Lie
scene Francesco Scavetta/Birgitte Lie
producer Gry Kipperberg
commission Dansens Hus, Norway, Edison Studio
production compagnia Wee/Francesco Scavetta
co-production: Dansens Hus, Norway, Edison Studio
in collaboration with
Eclectica 2005 (Estonia), Zo centro culture contemporanee,
Teatro Comunale di Cagli/ Teatro Petrella di Longiano
Sep 04, 04 – Tartu (Estonia) Festival Eclectica 95 (prewiev)
Sep 22-30, 1-2 0tt 05 – Oslo (Nor), Khio (Kunsthøgskolen), Coda Festival
Jan 27, 08 – Rubiera (Mo, Italy)), Teatro Herberia
Jan 30, 08 – Ferrara (Italy), Teatro Comunale, Season
Feb 03, 08 – Roma (Italy), Teatro Valle
Feb 02, 08 – Dogana (San Marino Republic), Teatro Nuovo, Season
Hey dude, let’s stick around a bit longer this time
deals with the themes of epiphany and paradox, questioning our perception of everyday life with humorous disbelief.
Black humour, a good dose of cruelty and a collection of video games: with empathy and surprise, playing with narrative clichés, the piece questions youthful identity, through a disenchanted and deliberately adolescent gaze, imbued with pop culture and a sense of boredom.
Never trying to escape our biographies, and speaking in some way about ourselves, we regress to our adolescence, transfiguring it through the experience of today, of a world that always lives on virtual spaces, such as online blogs, where we we seek and confess, even if we don’t know each other.
The show takes shape in a natural landscape, a sort of beach, with an irregular surface, almost the reconstruction of an exterior in a sound stage. a poetic elsewhere where the presence of sand is experienced as a natural,
synesthetic and malleable element, a catalyst of associations and memories, but at the same time, a conceptual, profoundly artificial place, which is a conscious metaphor of fiction.
In the physical confrontation with instability, due to the irregularity of the ground floor, sand brings necessity into play. The need to accept fragility and lack of control, generating a sort of “truth” of the movement. The vulnerability of balance, triggering physical intuitions, is transformed into a creative stimulus, in search of a fluid and disjointed movement, which includes the daily gesture.
The narrative structure mixes references linked to films, sitcoms and videogames with a search for a dramaturgy where the narrative development is constantly fragmented and takes place on multiple levels of reality. The non-chronological order in which the action is reconstructed triggers a personal associative and emotional journey of recognition and surprise in the spectator.
The new show by the Wee company sees the continuation of a fertile collaboration between the choreographer Francesco Scavetta and the composer Luigi Ceccarelli, a collaboration that began with the live show* which,
commissioned by the Venice Biennale, was subsequently awarded at Bourges International Electro-acoustic Music Competition, and presented on tour in Italy, Norway, Austria, France, Venezuela and Estonia.
The music has as its fundamental element the digital processing of the electric violin played live by Diego Conti, which becomes a multifaceted generator of new sounds, at the same time archaic and electronic. Added to it are the sounds of the scene and videos, natural or synthetic, which are also reworked and re-proposed as if they were filtered by the perception of the characters.
The result is a mix of dance, text and electronic music, which, through proximity in vision, creates empathy and, at the same time, in the constant deconstruction of the narrative structure, disorientation.
Hey dude, let’s stick around a bit longer this time inaugurates a new cycle of shows that Wee dedicates to the investigation of the concept of awareness, with a particular curiosity on how the different levels of communication – visual, sound and, in general, synaesthetic – settle in our perception.
Awareness is just the tip of a mental iceberg.