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nicolaNICOLA CAMPOGRANDE

notes about Haiku

 

 

Before writing "Haiku" my music was a little bit different: I have always liked to play on several tables, to use diverse languages, so the theatre inside my scores was very colourful. Working on "Haiku" has constrain me to paint with few colours, to choose the black and white of the piano, to use a lot of rubber; and it has come out a music that surprises me, music of few gestures -sometimes maybe intense ones- that I didn't know I was able to write.
Some years has been necessary to focus the performance and that music has remained there, waiting. Now and then I turned on it without knowing well how to face it. Jenaro sent to me email from Japan telling that the music was well accepted there, speaking about the three screens and about the butoh dance... But when cool I was not so much trustful: a lot of ideas had been already discarded and, in resume, I was not able to imagine this performance.
Anyway, an afternoon I found myself in the theatre following a rehearsal and I have been astonished: I don't know well why, but the ingredients are those proper, there is magic, there is suggestion, there are continuous inventions that bewitch the public.
Now I keep "Haiku" over my piano, near the white sheets: I hope that something of this work slips secretly into new scores. (n.c.)

 

 


eikoEIKO YAMAGUCHI

notes about Haiku

 

The eighth edition of The International Figure Theatre Festival INCANTI, organized by "Controluce" of Torino has taken place between the 26th September and the 2nd October 2001 at the Juvarra theatre and the theatre of the Contemporary Art Museum of Rivoli Castle. A lot of countries has participated to this festival: Turkey, Germany, Great Britain, Holland, Italy and Japan. My role in it has been the accompaniment with piano in a Japan-Italy play called "HAIKU" (Japanese poetry). The performance of the dancer Dakei (SHIZUKU butoh company) has fit in between the music composed on purpose by Nicola Campogrande and the shadows theatre created by Controluce.

 

The projection of images on the screens in the centre of the scenic space, illuminated from behind also for creating the effects of shadows gave life to a mysterious atmosphere. At the beginning when I knew that the dancer was deaf and dumb I have had some perplexity about synchronization between music and dance. It happened instead, in always different moments during the rehearsals, that light, shadows, music and movement were interlaced transmitting synchrony to our moods and moving us each time with astonishment. At the end of the performance, during the applause, I was moved to tears.
I want to express my grateful from the heart to Mr. Jenaro for inviting me to participate in this work that has been able to transmit to the Italian public the atmosphere of the traditional Japanese poetry trough the Italian contemporary art.

 

 


jenJENARO MELENDREZ

notes about Haiku

Some haiku are for me wonderful cultural jewels.

It is true that haiku are the result of a very peculiar poetic alchemy connected to the language structure, the aesthetic sense and the history of Japan, but this hereafter, they are, as all poetry forms of the world, expression of human emotivity. Haiku are diminutive emotion containers, they are emotion concentrated in a tiny covering of words: that is the start point of this performance, which is an experiment on the universality of poetical emotion as well as on the communicant pipes of art.

Haiku is a performance of multiple dualities (nature-artifice, silence-music, colour-shadow, tradition-vanguard) interlaced around an emotion that changes between conceptual, musical and visual languages. A poetry-emotion that generates a music-emotion and a dance-emotion, which doesn't touch each other but mysteriously fit together. An emotion that goes from orient to occident and returns to orient in so many ways and so many times that ends in a place different from both, a common place, not divided, new.

The simple initial idea, to "translate" some haiku into a theatrical moment, has involved the participant artists deeply without loosing lightness (again a binomial), and the realization has been as a merry journey of friends to the country of imagination.

With all its shadows Haiku is to the moment, without a shadow of doubt, my happiest work.

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